Step 12: Halftones in Upper
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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 |
| Carefully observe how the tones on the forehead
differ fundamentally from the other tones on the face (lighter
and more yellowish). Again, state these tones with as much unity
and simplicity as possible. Try to express the volume of the
dome of the head, using shadow, dark halftone, halftone, light
and highlight. Do not blend between the areas of tone. As you
paint, keep in mind the concept of a 'mosaic of tone' —
judging and mixing each tone independently, applying the tone,
and having the courage to leave the 'chips in the mosaic' as
unblended, separate statements. Always paint the darks first,
then the halftones, then the lights, and finally, the highlights. |
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