After Waterhouse: Destiny

Transcription

1 After Waterhouse: Destiny

2 After Waterhouse: Destiny Surface Portrait grade 18 x 24 portrait grade canvas. Transfer Information Transfer the design to the surface with gray graphite. Coat the graphite with varnish such as Final Coat.Coat the surface with the varnish any time the paint feels grabby. Palette Set up and mixing The original piece was painted with Genesis Heat Set Oils. There is a conversion chart included if you care to use traditional oils. BU: Burnt Umber RU: Raw Umber or BU + Blk BS: Burnt Sienna (optional) Blk: Mars or Carbon Black DP: Diox Purple or QC + UB Mona Lisa Paint Thinner Mixes: WW TW + a very small amount of Y TW: Titanium White Y: Genesis Yellow R: Genesis Red O: Orange (or mix R + Y) QC: Quinacridone Crimson UB: Ultramarine Blue RS: Raw Sienna Abbreviation Archival Winsor & Newton Genesis You have Waterhouse s Destiny on the cover of the DVD. The images in the lesson are of my version. I hope by including both you can draw inspiration from both. W Soft Titanium WhiteTitanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Genesis Yellow R Cadmium Scarlet Bright Red Genesis Red QC or RV Permanent Alizarine Alizarin Crimson Quinacridone Crimson UB Ultramarine Blue Ultramarine Blue Ultramarine Blue BU Burnt Umber + R Burnt Umber Burnt Umber RS Raw Sienna Raw Sienna Raw Sienna Blk Mars Black Ivory Black Carbon Black PB Cerulean Blue Cerulean Blue Pthalo Blue NY Naples Yellow Naples Yellow RS + TW + Y OG Olive Green Olive Green RS + UB + BU BC or PM Purple Madder Alizarin Purple Madder RV or QC + Blk PG Pthalo Yellow Green Cadmium Green Pale UB + Y + W Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 2)

3 Destiny Date: 1900 Medium: Oil on canvas Size: 68.5 x 55 cm (26 inches x 21 inches) Location: Towneley Hall Art Gallery, Burnley, Lancashire, UK The origins of the painting: In 1899 the Boer War had begun in South Africa, and in the spring of artists donated works to the Artists War Fund in support of the British troops. After being exhibited in the London Guildhall, the pictures were auctioned by Christie s, who waived the 12,000 profit in favour of the Fund. Destiny was painted by Waterhouse especially for the cause, as shown by his own inscription Artists War Fund above his signature, and was selected by The Studio as one of the most noteworthy in the exhibition. The girl drinking a libation to the departing heroes was a favourite model for the rest of his career; statuesque in her beauty, she casts a sympathetic gaze towards the ships already under sail. Waterhouse s setting is typical of his origins - Italianate and geometrical: the circles of the mirror and its stand are repeated in the arches of the tiled loggia and the front of the lectern. Sepia/Bistre Underpainting Review sepia underpainting segment on the video as this is your best reference. It will help train your eye. Start with a white, primed canvas. Thin a mixture of BU + a small amount of Black or Raw Umber with Paint Thinner. It should be thin enough that you can draw on the canvas. Paint in the dark sections of the canvas. If a section becomes too dark, load a brush with Paint Thinner and scrub out the light sections. Wash the flesh sections in with a very light value. This is the lightest section of the entire piece. Darken the outside edges of the arms and each finger and palm. Add a dark value in the eye sockets, under the chin, and nostril opening. Add a darker value to define the cheek/nose area. The painting must be dry prior to moving to the next stage. Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 3)

4 Stage Two: Color Wash Wash each object with the colors listed. This is a transparent layer so as to begin to bring the objects to their local color. Thin each color with paint thinner so that the sepia underpainting glows through. Wash the dress and book with R Wash the flesh tones with TW + R + Y + RS Wash the bowl and sky with UB Wash the belt with DP or QC + UB Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 4)

5 Mixing Flesh Tones (see separate DVD for mixing) Block in the face and handswith the flesh tones without blending as shown on the the video and photos.use a soft brush to create a smooth appearance. Block out the sepia tones underneath. Ignore details such as the eyes, mouth, nostrils, etc.all sections will be reinforced when dry. The three light values will be used in different areas of the face. The lightest light value will be used in the lightest section of the face. The slightly darker light will be placed in a mid-value tone area. The darkest of the light values are reserved for the shadowy areas. The same theory applies to the different rows of medium and dark values. Caucasion (pink undertones) Light Values Mix One: Mix Two: Mix Three: Medium Values Mix One: Mix Two: Mix Three: Dark Values Mix One: Mix Two: Mix Three: TW + RS + Y + R Mix One + R Mix Two + QC + RS (if appears harsh) TW + RS + Y + R (warmer than Mix Three Light) Mix One + RS + QC (+ R if dull) Mix Two + QC + a speck of PB Medium Mix Three + PB Mix One + PB (add QC if too dull) Mix Two + RS + QC + speck of PB Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 5)

6 Dress Base dress with R + Y thinned with paint thinner. Add highlights within the fold using WW. Add dark shadow areas with BU + Violet (DP or QC + UB) Ships, Water and Sky Add water and sky with a wash of UB. Add WW for both waves and clouds. Add variety of browns and grays to create interest within the water. Add R at sky horizon. Create ship sails and flags with RS. Shade with BU and light with WW. Add hulls with BU shade with BU + Blk. Lighten with WW and/or RS. Use the same mixes on the globe, the land masses to the right and on the top of the columns. Create the turret with BU, shading with Blk.Add flooring with BU on the left and Black on the right. If necessary and light gray (TW + Blk) to create light tiles. Add BU, BU + Blk to the rest of the background. Add R to book. Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 6)

7 EYES: Add Iris with BU + Blk in an elliptical shape Add pupil with Black. Add the white of the eyes with light gray tone or light flesh. Add darker gray to the left side of the right eye. Add lash line with Black. Add dark flesh under the eye to create a lash ledge. With dark flesh, create folds on the lid and under eyes and shadow next to the nose. Add wispy eyebrows with Blk. MOUTH: Add shadow under bottom lip and corners of the mouth with dark flesh. Add actual lips with R + Y on the bottom lip and QC on top lip. Shade between lips with QC. Add a highlight with TW + R. NOSE: Add nostrils with dark flesh. Add shadow under nose, side of nose and nose wings with dark also. Highlight with light flesh values. FLESH: Strengthen flesh tones by repeating initial flesh placement on hands, face and neck. Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 7)

8 Hair Base the hair with BU + Blk. Add wisps onto the forehead with this mix. Shade the perimeter Blk. Add highlights with RS Add R if the hair takes on a greenish cast. Bowl Glaze bowl with UB. Add lights with WW. Shade with Blk. When dry, add liquid with a wash of DP. Final Stage Face Strengthen the lights and darks on the face using one value lighter or darker. Add blush to cheek with R. Add sparks of light on nose, eye and lips with WW. Background The background needs to have one more coat of the original values. This will create richness. See both the video and the original colors used. Glaze the floor and the perimeter of the painting with Blk. Varnish Varnish with Final Coat brand varnish. Use either a staining pad for application or a fine pore roller brush. Kingslan & Gibilisco Publications 2012 After Waterhouse: Destiny (page 8)

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