Quote:
|
the lighter skin tones consist of Cadmium Scarlet, Cadmium Lemon, Sap Green and probably too much Titanium White (all Winsor & Newton) with the darker tones created by adding French Ultramarine, Alizarin Crimson, Sap Green, Viridian, Cadmium Lemon and Cadmium Scarlet. What other colors would you recommend to "strengthen the face" and improve the "chroma?"
|
Clive,
Looking over your skin tones, I like your choice of colors in the lit surface. I would also add Cad red or Quinacridone rose. These colors are sufficient to cool the heat you might encounter with all that scarlet and yellow. The main problem with your skin tones is they are too light. They have "whited out." (Chroma refers to color, when I say it needs more chroma, I mean more color.) It is an easy fix, just put some color back into the whited out areas. Your choice of colors in the shadows are also good. It becomes more a question of balance. How much of each color and what value/temperature.
Quote:
|
One issue that Mari raises is the consistent sharpness of line that gives the figure a cut-out quality. Are there any lines in the face that you feel should be softened?
|
I'd like to see both a close up of the head in the photograph and in your painting, and we can start from there. It's too difficult to see detail from the entire painting. The head has to have a strong three-dimensionality before you start to think about edges.
Hawthorne used to talk about "rotundity". I like that word. There is a solidness to it. You want the head to be rotund.
I will be going out of town for a few days, I'll be back on Tuesday, but I'll see if I can check in to see how you are doing.
Peggy