Step 4: Lay Down the Hair Mass
The hair in this portrait accounts for
roughly the same amount of space as
the whole face and approximately one-
fifth of the entire piece. It’s important
to create accurate values and build up
the individual sections. I use Havana
brown and raw umber to lay down
midtones and darker areas of the hair.
I try to visualize the shape of the hair as
geometric objects rather than strands
of hair. This can be easier to do if the
artwork is flipped upside down.
Step 5: Define the Hair Mass
I begin to introduce burnt umber and
Payne’s gray as well as Havana brown
and raw umber. Erin’s hair is brown,
but sun and shadow introduce many
shades and tints. These in turn help
define form.
Step 6: Refine the Hair
Using a large, wide tortillon, I blend
each section of the hair, moving
organically, the way the hair does.
As each section gets smoother, I
apply layers of Payne’s gray and burnt
umber to darken sections. When the
layers are built up, I add highlights
using warm gray 4. Note that even
though the highlights appear to be
white, they’re actually gray. I build up
more volume with a steady pattern by
laying down lights and dark masses
and by blending with the tortillon.
I can add neutral black to the darkest
darks, but I don’t add details such as
individual hairs yet, as these will only
be applied once the hair masses are
fully defined.
Step 7: Add Detail to the Face
Now that the hair values are established,
I switch back to the face to further
develop the layers. I use light flesh, yel-
low ochre, Havana brown, burnt umber
and titanium white to add details to
the face. It’s important to remember
PALET TE
CarbOthello pastel pencils:
cold gray 4, titanium white,
burnt umber, Payne’s gray,
dark flesh tint, cold gray 1,
raw umber, warm gray 4,
neutral black, orange yellowBruynzeel pastel pencils:
light flesh, carmine, Havana
brown, light brown, ultra-
marine, yellow ochrethat the information to create the por-
trait comes from the reference, so I’m
careful to study the variations of tone
and value on color. I apply a light layer
of carmine on the cheeks to give them
warmth and volume.4
6
5
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Demonstration
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