The first two images are from yesterday and are very rough, so you can see how I'm going about it. I started with using pompeian red in my darker side of the face because that is the color I saw coming through the shadows in most of that side of the face. I know it looks very red and disasturous - but trust me!
On the light side of the face I am first layering light flesh which is often the color I use for the first coat.
Day 2 working on this is below. & look how much more natural the colors are looking already. & you doubted that red, didn't you? The big surprise colors during this phase was touches of raw umber in the dark side. It seems like an icky color for flesh tones, but there's a bit of green in it which suitably knocks back that pompeian red. I don't want to knock back all the red in the dark side - just in some places. the surprise color on the light side is cold grey 1 which could be considered a very light blue. SHe was lit from the window on a very cold winter day, so I think that is why it was needed.
The face is not finished yet so don't worry about some strange areas at the moment.
11 comments:
I really like the way the light hits the underside of the facial features even though the light comes from the side. It's a very interesting pose.
I understand where you're coming from with the cool color on the right side. I often use a little light blue or powder blue over the white in highlights. It just seems to make them less harsh. of course all my still life setups are done with window light, so that may be why.
This looks like another stunner in the making.
I really like the way the model is posed and the composition. The tight crop (something I like to do) makes even a large piece more intimate. I'll be checking back!Pulling up my chair.
amazing, can't wait to see the whole process step by step, and when finished. Master class...
This is absolutely lovely! I like how the light is shining on her face.
Painstaking patience in your technique always yields great results!
It's beautiful, Nicole. Are you going to do more pastels or stay with CP on Fisher 400?
Mary
I posted a comment on this particular entry sometime last week, that included a few questions. But, since my comment didn't make it through for some reason, I'll just say that this is going to be gorgeous!
Thanks everyone!
Gary isn't that interesting re the blue light! I always light my still-lifes with a lamp!
Mary - I need to get myself more pastel colors... it was very frustrating not having some that I needed - since the pastels don't really mix! :-) SO until I get some more colors, I'll probably not do too many pastel pieces.
Jeanette - thanks! Please, go ahead and ask the questions again - sometimes blogger can hiccup.
My questions were: Are any of your portraits done on pastel board? And, if so, is this surface good for portraits?
I know that it lends a soft quality to colored pencil work, I've completed two of your kits that use it: The shells and the mug with grapes.
I've seen quite a few of your portraits, but not many have the support specified, or I completely missed something...which, with me, is entirely possible.
Love your style!
Jeanette - I've done a couple portraits on Pastelbord... and I just don't like the effect. Also, Pastelbord is not an easy surface to deal with: it doesn't allow you to push and pull the values very easily. So I use paper for my portraits - either Fisher 400 or UART. They have to be framed with glass however.
You can do a good portrait on Pastelbord, don't get me wrong, but I just don't enjoy the process much. S.G. Chipman makes great portraits on it for instance. http://sgchipman.com/blog/
Thanks, for answering my questions and for the link-amazing portraits!
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