Now that the canvas is covered with all the inherent values and inherent colors of the composition, the FUN begins! This is where the one inch brush is set aside, and the 1/3 or 1/2 inch filbert comes out and starts to dance.By turning the edge of the brush and changing the shape of the line, I can make a mark that is either thick or thin, depending upon the need. That's how the darks on the muzzle of the dog went in.
I'm literally dancing around the canvas (and please, no video cameras!) while this is being done. I fill the brush with the color I need and then put it in all the places it needs to go. For example, the tan color (done with yellow ochre in the shadows and burnt sienna/cad orange in the lights) is placed in several areas if I've mixed up a batch of that useful hue.
I hope this series of lessons has been useful to you. Comments to the posting wherever you see it is always appreciated, as that way I know you're "out there". And if you have questions, I can also answer them with a reply, providing a permanent place for people to learn. Thanks for doing that.
And just for kicks and giggles, here's a picture of the three studio dogs. Onslow, who is having his portrait done above, on the left. Q or the LBD at age NINETEEN is in the middle, and Sparky the wonder companion is on the right. I think the old girl's doing pretty well for being that old, even tho' totally deaf. She's a German Pinscher, about 30 pounds. All have shiny coats, probably due to what I feed 'em.My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.
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