Here, further structural work delineated the position of the features, one relative to the next and so on. A well-practised measuring process was required here, as well as discipline and concentration on the various proportions, whilst the relationships between the elements were gradually firmed up.
The sitter’s glasses were, unsurprisingly, a great help. They acted as a kind of datum point, and such items really can assist with the measuring process. Even so, the style of the brushwork was still quite sketchy and not too finely resolved.
Also, I painted large areas of blocky high-key brushstrokes with Nos. 8-10 bristle hog brushes with broad, slabby strokes to resolve the light-coloured blouse. Relative purity of mix was required there, i.e. titanium white, buff titanium and either cadmium orange or Indian yellow.
Further flesh tones were applied to the facial area and the neck using brush sizes 6, 8 and 10. I was beginning to get a feel for the character and personality of the sitter.
This is an exciting and exacting process, and portraiture is especially challenging and totally absorbing. Your concentration levels need to be considerable, and consistent, which isn’t quite so easy when you are demonstrating.
The light source was largely from the right-hand side and as you see it allowed a counterchange effect of light against the dark background (which was treated very simply), emanating to a lighter background on the approach to the left-hand side, and meeting the darker left-hand side of the face. This was intended to create a three-dimensional, spatial feel.
At this point the live demonstration ended.
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