Re­fin­ing the un­der­paint­ing

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I sketch in some tex­ture and a face to fur­ther build up this pic­ture. So far I’m just cre­at­ing an un­der­paint­ing. I de­cide to keep this warm, which en­ables me later to ei­ther sub­tly re­veal cooler colours or pop them sharply, all the while keep­ing the over­all gamut con­trolled to­ward warms. I start to think about – and pur­pose­fully de­stroy – some edges.

In­tu­itive tex­ture work

Be­cause I know this is the un­der­paint­ing, I in­tro­duce some un­ex­pected colours and tex­tures. I use the Hard Light layer to in­tro­duce some hope­fully serendip­i­tous colours and mark­mak­ing. All of this is very in­tu­itive, and is in­flu­enced by ref­er­ence paint­ing – usu­ally from life. I feel like an area de­serves a pur­ple stroke and so I paint it in, and re­peat around the can­vas.

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