194215914 by Unknown

Author:Unknown
Language: eng
Format: epub

14 The hair aspect of a portrait can make or ruin the painting, as a different approach to skin tones is often required. Here might lay an opportunity for a break. I used a bold approach. With a medium sable, I plied burnt umber and a little pthalo blue for the lowlights on the hair. I made generalised observations rather than aim for accuracy. There is little shadow at the top of the head, where more can be seen further down and next to the face. Some curls hang in regular chains; others blend out in soft braids.

15 With a separate sable, I expressed the highlights of the hair by a mixture of white, a little cadmium yellow and burnt sienna. Don’t worry if this colour appears harsh next to the dark colour; they will be blended out. I allowed the pale art surface to poke through at these junctures.

16 With a clean medium bristle, I worked the two colours together gently, knitting and blending. Wipe excess paint build-up from the bristle from time to time. I made gentle, vertical strokes to reflect the direction of the hair’s growth. It might sometimes be necessary to work over an area again with a soft brush if harsh marks materialise. Aim for an undulating effect evocative of wavy hair.

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