Day 1:
• Handouts (schedule, medium ratios, painting steps, terminology, Andrew Loomis geometric head sketches and planar head values)
• Lecture (introduction/background, brief history of portrait painting, basic geometry, proportions and shape of head, etc), Q&A, attendee introduction, numbers drawn from a hat and "1" chooses first and so forth.
• Demo and toning of canvases with a burnt umber background (campitura). Proper board, paper, and easel setup.
• Sight-size demo. Lunch break. Each place has its own classical cast. Use sight-size to draw main outlines and filled-in shadow shapes of the cast.
Day 2 (speed varies with each individual)
• Draw model portrait sight-size, focusing on main planar changes and shadow shapes. Trace over image with tracing paper and red pen. Flip side and rub charcoal over lines thorough and rub with a paper towel. Align tracing paper with canvas edge, tape, and go over lines again with pencil to transfer to canvas. Spray transfer with fixative.
Day 3
• If necessary, continue drawing from the model.
Day 4
• Work with model burnt umber on palette, slightly dampened brush with 1 linseed oil to 1 odorless thinner; flat fill in shadow shapes with correct values and also the background. May take several layers to get darkest parts to the correct value. Allow to dry.
Day 5
• Add calcium carbonate* to titanium white paint or use lead white (with a drop of cobalt dryer if in a hurry) and begin layering in your whites. Thin paint allows more background to show through, impasto in highlights.
Weekend
Day 6
Day 7
Day 8
Day 9
Day 10
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