Painting Demonstration : The Classical Figure in Oil on Canvas
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The
figure for this painting is to be idealized, therefore I complete
a drawing before I start painting. This allows me to get the classic
proportions of an 8 1/2 heads tall figure worked out before I start
on the canvas. |
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Once
I am satisfied with the proportions, pose and values of the figure,
I use Gamblin's Asphaltum thinned with OMS to draw in my composition
on the canvas. This provides two functions: one is to act as a map
for the composition and values, the other is to lessen the absorbancy
of the surface. |
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Here
I am simply beginning to add paint on top of the underpainting. (Note:
Technically this isn't a complete underpainting, like a grisalle would
be. It's just under the painting.) I like to work adjacent areas at
the same time, as it helps to judge the values and how the colors
will affect each other. |
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Once
I feel the flesh tones are temporarily satisfactory, I move on to
other areas of the painting. I prefer not to bring one area to completion
before moving on, because the interaction of all the pieces have an
affect on each other and it's best to finish the whole together. |
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I
decided that the pattern on the skirt was too distracting, and opted
for a relatively solid color. Next, I began to carve out an arched
space for the figure to occupy. |
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A
layer of warm color and a Celtic-like pattern are introduced into
the arch, while I continue to adjust the hues and values of the background,
as well as the relative focus and height of the horizon line. |
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As
the painting nears completion, I smooth the background transitions
and bring some more cool tones into the flesh areas. Finally, details
such as toes and a design on the shoulder of the garment are added.
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