http://www.painters-online.co.uk artistDecember 2019 21
PRACTICAL
p STAGE TWO
I began to consider statements of variable l esh tone passages, each
carefully observed and placed. I deliberately did not smooth out these
strokes as I i nd this lends a dynamic quality to the process and enhances
the character of the sitter ef ectively in these early stages. This is a
coni dence-building stage and one in which you should begin to witness
the emergence of the sitter’s basic likeness, if only in the broadest sense
p STAGE THREE
It is advisable not to restrict attention purely to the facial features;
be mindful of the fact that the surrounding areas of the backcloth
and clothing are essential if you are to achieve an overall ef ect of
matching tonal value and necessary contrasts. These areas should
be treated with the same broad brushstroke technique. A little
more consideration was applied to i rming-up the position of the
eyes, nose and mouth. Note that the datum point of the ear is key
to the overall proportions and so helps to determine the scale of
the periphery of the outer proportions of the head STAGE ONE
I placed a turpsy wash of French
ultramarine and raw sienna
over the surface in preparation
for some loosely described
basic line work that denoted
the essential proportions of
the head form, with all features
broadly set in place. I used a
rub-out technique to suggest
the lightest tonal passages and
so created those lost-and-found
sections and areas of counter
change where they were
observed. Just a suggestion of
the highest points on the ear,
nose mouth and eyelids were
noted at this stageDEMONSTRATION Study of Matthew