View Full Version : Lifelines - WIP
10-10-2006, 11:27 AM
I've been bitten by the portrait bug(never thought I'd say that!).
On to the next.
Another aged, fascinating Cambodian face, this one an old gent, from my daughter's portfolio.
I'm going with a Verdaccio again, but this time I'm going to take the face to completion, and do the background last. I'll have to think about what I am going to do there....
There are seven values of grey/green, a mix of burnt umber, um blue, viridian and titanium white.
I sketched it in with charcoal to get the major features, but didn't go too detailed. I'l leave that for the verdaccio process.
Oil on canvas, 750mm x 650mm or 30" x 26".
This is the start of the second Verdaccio layer, where more refining is taking place. Quite a bit more to do before glazing.
10-10-2006, 11:49 AM
Nice work, Marty. You're a patient man!!
10-10-2006, 05:12 PM
It's coming out beautiful, love the deatils in wrinkles.
keep showing us.
10-10-2006, 10:22 PM
Thanks, Dana, but if anything I would say I'm impatient!:lol:
Hi, Jackie, nice to have you here:wave:
10-11-2006, 07:08 AM
Today's work. Pretty well finished the whole verdaccio now. Any more refinement maybe overkill, as I'll be constantly refining with the glazes too.
10-12-2006, 02:44 AM
I'm so encouraged watching you work Marty.
She's beautiful and you slowly reveal some of the many stories in her face, patiently or impatiently. :lol: Plus I'm learning a lot.
I have loved faces forever, and wait for the eyes. I especially like portraits with a direct gaze.
10-12-2006, 07:08 AM
Hi, Annapurna, thankyou very much. This one is a he, not a she:)
I'm afraid you won't see much in the eyes, they are in deep shadow, with just a hint of a glint.
On to the glazing. The areas I am glazing first are now dry. The verdaccio went on thinly, so it dried quickly. Again, hardly any medium at all, it's mostly straight paint brushed on very thinly. The underlying verdaccio is easily visible up close. It's surprising how little colour is needed to make a big difference.
Colours: Burnt umber, raw umber, olive green, Australian Green Gold, Australian Red Gold, some cad orange, Yellow ochre, Cad yellow med, juane brilliant, permanent crimson, brilliant pink, naples yellow red shade, Paynes grey, titanium white, black(um blue, burnt umber). It sounds like a lot, but some have only a tiny bit in a mix.
Long way to go yet!
10-12-2006, 11:26 AM
Oh Marty, this is totally fascinating. I just love to watch you work, and it is looking super. Have pulled up my chair. :clap: :clap: :thumbsup:
10-12-2006, 12:11 PM
I am watching with bated breath.
It is incredibly interesting and inspiring to see your steps!
10-13-2006, 06:32 AM
Thanks, Val, really nice to have you along.:wave:
Hi, Sharon, if I can inspire you in any way at all I'm happy.
He has an Asian skin tone, darker and more orange than a European skin. However, this is just the first glaze, and it's mostly broken colour, so it will change with subsequent glazes.
Today's work. These very thin glazes dry quickly. In these pics you can see how thin the glaze is with the green of the verdaccio still showing through. Yet for all that, the Ghoul now seems much more alive. :lol:
10-14-2006, 06:47 PM
Marty, did you say what medium you were using for the thin glazes? I missed it if so.
10-14-2006, 09:56 PM
Hi, Annapurna. I have used very, very little medium in this. For the most part in the verdaccio, and bits of the 1st colour glaze, it was Art Spectrum No.1 Medium. In this 2nd glaze, where needed (just to get the paint to spread thinly in some parts) I used Art Spectrum No. 3 medium, which has more oil in it. So I'm sticking to fat over lean in the mediums.
On to today's work. As I said, I'm adding in thin glazes, and their great advantage, apart from having underlying colour contributing, is their really quick drying. Today I was able to go over all painted areas. Still the same colours, just improving with each glaze. I spent about 8 hours doing this, and the time just flew. It always amazes me how intense concentration makes one completely lose track of time. I'm trying to get this pretty well done before Tuesday, as I have to go into hospital for a spinal fusion, and I'll be out of action physically for a while. I like to concentrate on a work and get it all done in a contiguous time frame.
There is still underlying verdaccio visible in parts, and will remain so in the complete work, as those areas add to the overall effect on the skin tones. This is where the beauty of a verdaccio really comes into it's own for portraits over a grisaille. The greens complement the reds really well, unlike a grey.
10-14-2006, 10:06 PM
Very nice Marty :clap:
Those skin tones are springing to life now. So much expression.
You’re taking on some complex features again with this one.
I'm enjoying the show (watching and learning :) ),
10-14-2006, 10:39 PM
omg! the cheeks, nose and mouth are stunning. Wonderful color!
The Art Corner
10-15-2006, 12:36 AM
Marty WOW very very impressive.
10-15-2006, 04:06 AM
Hi again Marty and again Excellent work :)
10-15-2006, 04:47 AM
Thanks, Jerome, but if anything it's me who has to learn from you. I know very well what your fabulous portraits are like.
Hi, Dana, and thanks very much, it's going well this time for a change!
Thanks, Shoshana, much appreciated.
Hi Wendee, many thanks, nice to see you here:wave:
10-15-2006, 06:45 AM
Just about finished. I put in the background and did his shirt. I was wondering what to use for the background, and then thought that the best colour to harmonise his skin tones would be the green grey I used in the verdaccio, so that's what I went with in the end, especially as I had some mix left over from the verdaccio. His shirt I did with um blue, neutralised a bit, and then with the mid value grey/green mixed in over the top, wet in wet, to bring some colour harmony through the whole piece.
10-15-2006, 10:33 AM
WOW Marty, this is looking totally stunning. I just LOVE your Portraits, as well as everything else you paint. :clap: :clap: :thumbsup:
10-15-2006, 12:24 PM
Thanks so much, Val.
I'm adding in a lightened version so you can see his eyes a bit better. The original is closer to the right colour, but the photo hides his eyes, which you can see IRL.
10-15-2006, 05:38 PM
10-15-2006, 07:10 PM
Thanks, Sandy, short but sweet!:)
10-16-2006, 12:57 PM
Very nice. Love the detail..amazing..
Nice to see your work and happy to be here following.
10-16-2006, 08:57 PM
Thank you very much, Jackie, much appreciated.
10-17-2006, 01:21 AM
You give great verdaccio Marty!
Something to sing about.
01-14-2007, 11:16 AM
A wonderful WIP that many can learn from! Thanks, Marty.
01-24-2007, 07:04 PM
Blimey!!!!!! Can't wait to see more.
02-04-2007, 05:17 AM
:thumbsup: Wow! Woah! I'm stunned. I appreciate, so much, the time you took to show each step. I never knew the detail required in an oil painting. This techinque you mention, verdiccio and glaze, I need to look into, to learn more about it. For me, watching each step appeared as if you were building this portrait 3-demensionally---with clay. The three dimensional appearance is breathtaking. It humbles me to know how much there is to learn, and inspires me to explore and develop my skills.
Looking forward to seeing more of your work.
10-28-2013, 01:19 PM
What an amazing process! Thanks for showing the steps. He looks so lifelike.
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