Texture and Glazing
by Paul Fenniak
I kept changing my mind about this head, so the mess of semi-erased heads beneath this one was helpful in suggesting the final form. I used a large brush loaded with blue-gray to paint broad swaths around the shapes left by the previous heads until I saw something in all the chaos that seemed right and then based my model’s pose on that. One great benefit of this otherwise annoying and time-consuming intuitive method is the build-up of textures.
A In the area around the mouth, under the lip particularly, I brought out underlying texture by scraping to interrupt what was the flat opacity of the green-gray shadow.
B Around her right eye, the already textured surface allowed me to lightly drag thin paint with a soft flat brush over the ridges of dry paint to suggest wrinkles and break up the surface, thereby animating the flesh. I also dragged wet over dry paint in the highlight on the forehead.
C I established the basic shape of the head with strong blue-violet shapes with crimson edges on the side of the head and the side of the nose.
D For producing the effect of late-day sun shining in her face, I used a progression from yellow to orange to red to crimson—but crucially with accents of cool, light blue-grays (and occasionally green), especially on the edge of the forehead and along the edge of the nose.
E Bright sun meant there should be conspicuous reflected light in the shadows. This is most evident along the jawline and on the neck, where I glazed the crimson underpainting with ultramarine violet.
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