|
Demonstrating
and Explaining
the Premier Coup Technique
Step 17: Lights in Hair |
|
|
The Lights
(Steps 14 through 17)
• Perhaps this section should be called "highlights."
The halftones — all of them — are really "lights."
They exist in the light-struck areas of the subject. And we
have rendered them in our painting of the "mosaic of halftones."
Now we are going to turn our a ttention to the most prominent
lights. So maybe "highlights" best expresses this
sequence.
• It is significant that the highlights are painted after
the darks and halftones. The highlights are opaque, impasto
strokes and sit on top of the layers of paint. The highlights
should be painted with very "clean" color. Paint them
boldly, and then leave them alone, if possible. |
Hover to zoom final painting |
| The highlights in the hair should reinforce the
"architecture" of the hair mass and should enhance
the character of the hair. You might try using a fan blender
for some interesting effects here. Use the largest size brush
you can. The hair is very detailed, but at this stage you must
ignore the small details and concentrate on the big masses.
Work for a simple, broad, solid statement. Add the details later,
if at all. The painting of the lights in the hair demand a more
complete environment, so the tones of the background and shoulders
are struck in at this point. i am working with very large brushes,
and making the statements as simply as possible. |
|
|
