NMA

 Long  hair type 

              

Linen canvas

Mediums:    Gamblin solvent free Gel improved the flow of paint                                      

          Fatness refers to how much oil i used. As the painting dries you use more oil
  Varnish   Retouch is not a permanent varnish - will bring up the darks and remove the dullness

You can paint over that. Creates a uniform sheen.  

 Gamvar by Gamblin only used when the painting is completely dry.

Value Scale

 

                                                                             

1

Starting to paint he mixes an orange for forehead    AL Crimson   YO   Cool Yellow  

Calls it a NEUTRAL colour

Made an orange and reduced it by adding blue   Looks quite dark

To lighten the ochre look he added TW to and reduce saturation

Dont go too light  - not looking for highlights

Looking for UNIFICATION of paint colour all the way with subtle differences

Going more rosy at the cheeks  very subtle  - barely noticeable changes

Around the mouth and chin gets GREYER - adds blueish green

The degree of saturation change is very small

A block in with good neutral colour is half the battle

Uses the one single pool of colour

Neck area neutral and cool

2.   Now starts to add darker tones

Wants warm shadows and cool lights   Trans Oxide Red does a good job here

Touch of Cad Red

Red   YO   TRO  UB       The dark warm brown top right is the new colour 

Must be dark enough and warm enough  EYES  

Under NOSE    Under chin     Upper lip

Going darker than he sees it      A sense of unity is created with the same dark tone     

Easy to lighten but of you go tool light you loose the relationship between the shadows

Oversimplify is best

3   Left side face and lips   Ear  Background and hair

Left face  - looks very dark but has to be darker than the face - not as dark as the eye sockets.   There must be a relationship between the shadows - they are RELATED

Hair is yellowish Ochre - dark in value   Neutralise with purple

Goes for coverage rather than the correct colours

Need to create a picture of where this painting is going - even in the block in with solid colour

Rich cresendo of RED just under the ear

        4    Background is Cool Blue steered towards Violet (Al C + Y) Touch of TW to cool and lighten Top left forehead is a place where all 4 values collide.  You dont want a flat background                                                                                                                                                                                                                                                               Now about to look at the half tone values everywhere                                                                                                                                                                        We so far are using2 values on gthe form                                                                                                                           We need 3 at least  Light  Half tone  and shadow in order to produce volume                                                                                                                                                     Need a hlf tone between the eye socket and the forehead - a neutral lavendar brown - eyebrow and bridge of nose  Left forehead                                            

Creating a sense of VOLUME

Ben Fenske

Colour Vibration in colours sometimes achieved by not fully mixing the colours that you are about to apply    = Sky   Mountains

  For all greens in sunlight he uses Viridian or Phthalo + Cad Y Light          

Flat paint does not vibrate - needs some colours layed in over

Gaps left as you lay down a colour - broken colour - add another colour of same value 

Add a grey tp green grass which kooks like a violet next tp green (same value)  - now have a green some blue and grey

Painting on a white surface can be nice because you can have a lot of color
purity. All right from the start you can never - you'll never achieve the purity of this
color on toned canvas. But the tone dcanvas has its advantages that you can leave little
gaps showing through and sometimes the tone of the canvas will work as the color without
even laying down paint. Okay,

Subtle colour variations layed down next to each other.

So I would have to say that value in most regards is a lot more important
than color and color is just a sort of - is a personal
thing that it almost in a way
it doesn't really even matter
what color you choose     

Okay now that I've talked about color, your assignment is to take a color, something very pure
and bright, maybe an orange or a pure green and make a slightly warmer version of that
and a slightly colder version of that and compared those three colors.
Your next assignment is to take again a pure color and grey that down and remember
there are several ways to grey a color down.
It's important to know how to warm a color up or cool a color down or
take that color and grey it down.
But it's also good to know that you will get better at mixing colors as you
have more experience painting.

Compose a value plan    White to Black 10 sections

Necessary to make a value plan on location - a value hierarchy

Everything has to placed in a value category - maybe 7 values altogether

Nothing to do with colour - just value

What value is the darkest thing in the painting?

What value is the lightest thing?

Sky might be the lightest - how does it relate to the next value down - white  clouds?

These two values are very close.

Six values below

Some objects in the distance may have the same value as near objects

 

Steve Huston

In landscape. Flowing shapes/ design with varied interesting shapes 

Unequal size shapes 

Put big masses in first

Unfinished detail is good 

Different VALUE = different plane

Same value.          =  sSAMEq1 plane