Step 11: Halftones in Central
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The Halftones
(Steps 9 through 13)
• Now we come to the most important portion of the painting.
The halftones and the lights occupy all of the light-struck
planes of the head. Each area of tone must be judged for value
(how dark or how light is it?), for hue (what color is it?),
and for intensity (how saturated with color is it?), and then
placed correctly on the painting (this is drawing).
• The halftones should be regarded as a "mosaic"
of tones — that is, a collection of separate "pieces"
of tone, each requring its own decisions. Try not to consciously
blend the tones at this point. The painting will be stronger
and more "architectural" if the "chips of the
mosaic" are allowed to stand independently. Naturally,
since the paint is wet, some flowing between tones will occur. |
Hover to zoom final painting |
| There's a warm band of color and tone that moves
horizontally across the central third of the face, of which
the nose is the principal feature. Each plane has a tone caused
by the angle of the plane relative to the light source. Each
plane has a color, caused by the quality of the light, the intensity
of the light, the local color of the object (in this case, flesh)
the presence of reflected and secondary light, and other factors. |
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