The Difficult Lesson - After Bouguereau
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1 The Difficult Lesson - After Bouguereau Kingslan painting@kingslan.com & Gibilisco Publications 2009
2 William Bouguereau - The Difficult Lesson Surface Portrait grade 18 x 24 portrait grade canvas Transfer Information Transfer the design to the surface with gray graphite. 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. Mixing Formulas Formulae for mixing is given throughout this lesson. You will find that the mixes for the hue are given first. This is followed by a colour that will raise or lower the value. Once the value and colour are mixed, the next addition usually is meant to either brighten or dull the colour. Finally, a colour may need to be mixed into the pile that will adjust the temperature. TW: Titanium White Y: Genesis Yellow R: Genesis Red O: Orange (or mix R + Y) QC: Quinacridone Crimson UB: Ultramarine Blue Mona Lisa Paint Thinner RS: Raw Sienna BU: Burnt Umber BS: Burnt Sienna Blk: Mars or Carbon Black PB: Pthalo Blue 01 or Cobalt Blue VB: Viridian Blue 01 Optional Grays: Values of Gray Abbreviation Archival Winsor & Newton Genesis W Soft Titanium White Titanium 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 2009 The Difficult Lesson pg 2
3 Stage One: Sepia Underpainting Review sepia underpainting segment on the vidoe 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 with Paint Thinner. It should be thin enough that you can draw on the canvas. Paint in the dark sections of the canvas such as the lower left of the dress, the dark upright of the step and shadow work. 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. 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. Low Dk Wash the skirt with PB 01 or Cobalt Blue Wash the flesh tones with Medium Flesh tone (see next page) Wash the hair with BU Wash the foliage areas with PB + Y, BU + R, RS Wash the bench and pinafore with RS Wash the wall section with a very thin coat of PB 01 Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 3
4 Face, Hand and Feet Block in the face with the flesh tones without blending as shown on the placement guide sheets. Use a soft brush to create a smooth appearance. Block out the sepia tones underneath. Ignore details such as the eyes, mouth, nostrils, etc. Blend the values together slightly. While blending, keep the brush half on one value and half on the other value. Blend using virtually no pressure. Just melt the sections together. All sections will be reinforced when dry. High Light Light Medium Dark High Lt Light Flesh Tones Medium: Light: High Light: Dark: Cool Low Dark: TW + R + Y + RS Medium + TW + Y Light + TW Medium + RS + Violet Dark + BU + Violet Low Dark Low Dark + Burnt Sienna Key to placement of values NOT the swatch /match sheet Med Dark Low Dk Hair The dark sections are placed first with BU. Then add the midvalue sections with RS + a small amount of TW. Lastly add the light sections with RS + TW. Notice the right side side is overall much darker with little highlight. Blend the values together slightly. While blending, keep the brush half on one value and half on the other value. Blend using virtually no pressure. Just melt the sections together. All sections will be reinforced when dry. Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 4
5 Background Wall behind girl Place the wall with a mixture of TW + PB + touch of Black (Mix 1). Darken the mix with BU + RS (Mix 2) and place on edges of painting. Deepen more by adding more BU to the mix (Mix 3) Seat Place Mix 3 on the top of the seat. Lighten edge with TW + RS. Place Mix 6 on the front of the seat on the right side. Place Mix 5 on the front of the seat of the left side. Blend with top edge. Place Mix 4 on the foreground. Add lights and darks in a random pattern Mix 4 Mix 5 Mix 6 Mix 1 Mix 2 Mix 3 Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 5
6 High Light Light Medium Dark Low Dark Low Dark with progressively more BS Key to placement of values NOT the swatch /match sheet Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 6
7 Shirt Mixes: Medium: Light: High Light: Dark: Low Dark: TW + a small amount of Blk + PB Medium + TW Light + TW + a small amt of Orange (R +Y) Medium + Blk Dark + Blk + BU Skirt Base in the skirt with Medium Value. Add lighter values and dark values to create folds. Mixes: Medium: Light: High Light: Dark: Low Dark: Pinafore and Book Mixes: Medium: Light: Dark: Black + PB + TW Medium + TW Light + TW Medium + Blk Blk RS + TW + a touch of Blk Medium + TW Medium + BU Medium Value Medium Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 7
8 Face Transfer facial features. Eye (review step sheet prior to beginning) Place lash line with BU + Black. Add Iris/Pupil with BU. Add the white of the eye with dark shirt value. The white (sclera) of the eye is never white but a blue/gray. Using short strokes, add the eyebrow with BU. It should fade as it moves across the brow bone. It should be the darkest over the peak of the brow bone right above the pupil. Add the crease in the eye lid (above and below eye) with Low Dark Flesh tone. Add highlights in the original light area on and around the eye using one value lighter than the value underneath: above and below the brow bone, center of lid above and below eye. Nose and Inside of Ear Add the nostril with with BU + QC. This is red in color to show that light is shining through the translucent cartilage. Add a triangle of light. Shade with BU + R on the left side, nose wing and underneath. Add the inside of the ear with BU + QC. Deepen the crease with this same color. Chin and Neck Shade the left side of the chin and the neck with BU + QC. Strenghten the light on the right side with WW. Add reflected light under her chin with Blue Tint (TW + PB) Mouth (review page 11 prior to beginning) Apply a generalized lip tone to the area (R + QC + TW) keeping the shape vague. Add the center of the lips and corners with BU + R. With Dark + QC, deepen the center and edges of mouth Create actual lip shape by carving in around lip shapes and septum with flesh tones. Add a highlight lower lip with pink (TW + R) Analyze Your Painting Is the right side of the face darker than the left? If not, glaze the flesh with BU + QC Is the left side light enough? If not, add highlights on the right side of the face and gown with TW + Y. Are there any dull sections? In the face, add pink tones to alleviate dullness. Are there harsh violet tones in the skin? Glaze with RS in order to neutralize. Varnish Varnish with Final Coat Varnish building up several coats to give the painting an Old World sheen. With Low Dark Flesh, add shadow underneath lower lip and corners of the mouth. Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 8
9 Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 9
10 Six Tips for Painting the Mouth 1. The mouth is in constant motion, so a painting of it must have soft edges or it will appear too stiff and seem inappropriate for the rest of the painted face. 2. It s better to understate the mouth rather than overstate it. Suggestion goes further than careful delineation. 3. There is a sequence of lit and shadowed planes that describe the topography of the mouth. Under most situations, the light hits the top of the upper lip and casts a shadow beneath the top lip; whereas light touches the upper plane of the lower lip and causes a cast shadow beneath it. If you simplify the values of that sequence, the mouth will read correctly. 4. Structurally, you can conceive of one ball (the fleshy center part of the upper lip) resting on two below it (the two lobes of the lower lip). See the diagram. 5. The deep darks in the mouth are almost always warm, regardless of the temperature of the light. 6. Highlights on the bottom lip have a definite shape and color and are usually cool, even under warm light. Kingslan & Gibilisco Publications 2009 The Difficult Lesson pg 10
11 Sepia Tones
12 Face Stage One Eyes Step-by-Step With a 3/0 detail brush, base in Iris with UB + BU - keeping it very round. Add black for pupils. Add black around iris and the lash line above iris. Add white of the eyes using light gray - keep amount of white the same on both sides. Add shine with warm white in the upper left and pass through light in lower right. Add dark flesh around eyes to sink into sockets. Add fold and tear duct with low dark. Form fold below eye with dark flesh Add eyebrows with BU. Kingslan & Gibilisco Publications 2010 Difficult Lesson Supplement pg 2
13 Nose Mouth With Dark Flesh add shadow from the nose onto the face. Add nose wings. Blend shadow and try to smooth and lose edges. Add nostrils with BS. Add mouth with R + TW. Add lip division, dark corners and shape bottom lip with BS. Add WW highlight. Add shadow of mouth onto face with Dark Flesh Kingslan & Gibilisco Publications 2010 Difficult Lesson Supplement pg 3
14 Kingslan & Gibilisco Publications 2010 Difficult Lesson Supplement pg 4
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