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Posted
It was once a fairly common practice to pick out the features with Terre Verte and lead white, and then glaze over them in layers of flesh tones: I did that once as an exercise - while my portrait was really no more than a sketch, if a slightly complicated one, the technique worked. Brief explanation - get the basic drawing done; paint over that with Terre Verte; pick out the details with preferably lead white (it dries faster, is more transparent, much less likely to cause problems with the over-painting than Titanium [and I know - first find your lead white....] ) then paint your flesh colours, perhaps Burnt and Raw Sienna, many variations available, over that, adjusting as you go, thinning the colour out here, thickening and emphasizing it there. Works in acrylic, too. Now I'm off to check on the work of Tim Benson.It is not necessary to use terre verte/cobalt green only by glazing. You can apply them into your flesh red. Of course, remember to separate your brushes. I would suggest the base layers should be thick enough especially at bright areas. Lead white is really great. It can dry your paint faster, less opaque and more ‘standing’. I may use it to make the highlight area thicker. In case it is not thick enough I will add some calcium carbonate to make my paint more standing and transparent. After setup the general warm/cool, red/green, you may further adjust them by glazing. And please note that in region of ‘warm’ there are always something ‘cool’, vice versa.
Posted
Tim Benson is a nod to Lucien Freud but with more colour. I like a lot of portrait artists, one being Ewan McClure. That came out a bit gruff, it wasn’t meant to be 😁Yes, I agree. Tim is a nod to Luicen Freud. I want to see Lucien Freud art pieces by my own eyes. I want to study how he use the colour.
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