During some New Year's clean up I deleted a bunch of files containing my notes from MArtinho's painting workshop last spring.
Here they are in their entirety:
Painting workshop Day 1 Burnt umber and white value of 6- cobalt drier and solvent Solid shadows Calcium carbonate (marble dust) to make whites opaque. with titanium to help give it more umph 1-0.85 Shadows - black and yellow ochre Background mid tone - black and yellow ochre and a touch of emerald green More solid shadows and background Blueish ground blur the line between the two Peek thru a finger hole to get color relationship to flesh palette! Flesh - red umber and white Blend the meeting line a bit Fill in other mid light tones Palette & flesh ball! White, yo, red, Indian/venetian, (make an orange) then add white for flesh, red umber, burnt umber , raw umber, black --------- Day 2: fall of light Dark at bottom of legs paint up like a flat cardboard cut out. Shade the background and floor Bought a litany of 50 cent brushes and got a free travel case. Photo demo in the afternoon. Head photo, 25 cm. Printed out in colour. Priming a canvas with big car wash super sponge and lead white paint. Light sand - wipe off with a damp cloth. Bring painting home and leave in warm truck can to speed up drying time. -------- day 3 Demo Oil in, first painting, model the largest forms in the round Lesson of the day: More paint!!! After all (paint is cheap) Background Punching shadows a bit Lighten up the background ------ Day 4 Oil in- this process is done onto dry oil to bring the color back Fairfield Iowa- marahashi Scottish portrait painter- sir Henry Raeburn ----- Day 5, work one area with second stage painting. Working on legs, bumping up the chroma using more Persian once it is pulled out can see the uses of a more closely resembled hue campatura-wet sand the poison surface and Rubbed in thinned burnt umber. You got to know when to quit, I'm happy where I'm at, time to quit while I'm ahead. last day of the sale, I succumbed to some more purchases! Tab aret - rolling cabinet. ---- Things to buy: Cobalt drier Buy a color and tone chart For reference and photography Black mirror. Red plexiglas or other optical enhancer. Good brushes: Rosemary and company. England. Mongoose finishing, series 276 finishing. Download: the book of wealth
1) Tracing with high and low points, small straight lines rather than curved ones that are inaccurate
2) Charcoal the back of the tracing paper. Align the tracing to layout the composition. Trace back over on top of the line to transfer the outline to the support underneath.
3) block in shadows, burnt umber and white! First draw in the lines with. The paint thinned with mineral spirits. Then begin dead coloring. Starting With the shadow.
3) followed by the midtone in the lit side. Fill in the background mid tone. Made of flesh tone (red + ochre + white) plus some Red Umber. The background is black with yellow ochre and a bit of white. The background tone could have been thicker but I will be going over it again.
Printed out a black and white reference at home
Traces, Transferred and inked.
Put in the dead coloring, major shapes of shadows and lights.
Background and cloth blocked in.
I really like working on the texture of the prepared surface.
Big form modeling Basic flesh color But turning Planes of the head Red umber and white is a good place to start near the bed bug line A little bit lighter than the shadows Just a bit of 3:1 medium
Making the head into a flesh ball
Have two turps one for first clean and another for second back into paints that is cleaner.
More chroma, guard against inadvertent greying of the tones.
======= Week 2 - day 3
After big form modeling work on the planes of the face
Oil in both canvases and set up my palette put about an hour setting up making tones to work from and finding the shifts and planes. Pic of palette
Worked on piece until the lunchbreak. Then, excitedly ran over to the holy smoke for a man which sandwich and some fantastic chili con carne, stuffed, drowsy and needing some java I continued back on my girl portrait doing the shaping of the larger planes.
Went back into my self portrait and worked on creating some form in the shirt. That button sharply grabs the attention.
Week 2 - day 4
Regular start, oil in, chat, 1 damar : 1 oil.
The most important thing I've found laying out the palette.
Revising the shadows for the girl, really starting to "see" the values. Mixing Persian red straight in, surprising how much oil can handle.
Doc: why beauty matters. Culture counts, book. Local color - movie -- Caesar santos - Cuban American in Miami
Final day of workshop,
Oil in, Rework the girls face cause I like torturing myself to understand this value scale and palette system.
Chateau artiste Krauser P U A
Finding it challenging Now it's starting to come together Build you up and break you down Process - be a man!
lunch time - helped Darryl with his HD camera here is the empty classroom at lunch.
Charles Bargue book on amazon
- kept working,
Broken colour background:
movement of tone in background,
Mix up 3 values: low, mid , high (big middle circle (first shot)
Break the colour into yellow and blue and mix both a higher chroma and a lower chroma of both Ex: low chroma blue add a bit of black and maybe some white. Yellow is raw umber.