Setting Up
Finding a comfortable position in front of the model is essential so that you don't have to move too much to observe and sketch. The model should adopt a suitable pose, and the lighting should be provided solely by spotlights, with all other light sources eliminated using a dark backdrop and closed windows.
Initial Sketches
On newsprint or sketch paper, create quick sketches. These sketches help determine the format of your work (square, rectangle, etc.) and identify an interesting motif for your drawing. The motif should focus on intriguing phenomena rather than specific body parts. As a rule of thumb, the area with the greatest contrast holds the most interest, and the sketch should highlight this point. Don’t spend too much time on any single sketch, but feel free to make as many as you need. Remember, the sketch should always depict light and shadow phenomena and should not include lines.
Transition to Ingres Paper
Once your initial sketches are complete, move to your Ingres drawing paper. Determine the highest and lowest points of the drawing on the paper to establish a framework.
Contour Sketching
Using a pencil, sketch the contour over the imprimatura layer, including shadows, perspective checks, and scale. This initial sketch should be very general. Start by establishing the two extreme points (top and bottom) on the canvas, then find the middle. This method allows you to accurately sketch the model according to these points.
Inking the Sketch
Go over the pencil sketch with ink, using a rapidograph. This step solidifies the basic structure and details of your drawing.
Initial Color Application
Next, apply "earth" colors to the dark, light, and middle areas of the painting in the largest possible patches. In this stage, establish the light source and remain aware of it throughout the painting process. If you are painting on gesso (an absorbent layer), you can mix the colors with liquin to facilitate smoother application and prevent rapid absorption into the gesso. The paint should be thin, and the brush used is a filbert-shaped bristle brush.
Painting Process
Always paint from the background to the foreground, for example, starting with the background, then the figure, and finally the floor. Fix the positions of the painter’s chair and the model using oil paint marks on the floor or masking tape. Allow these marks to dry before continuing.
Detailed Color Application
Proceed with diluted oil paints using Oil of Spike or Lavender (or tree turpentine if preferred). Apply earth colors, this time using smaller patches of paint. Dedicate significant time to color mixing, using both a palette knife and the brush. The paint should now have more body. Avoid adding details at this stage, focusing instead on subtle shifts in light, shadow, and color.
Final Adjustments
Find as many color variations as possible and apply them accordingly, aiming to cover the ink lines so they are not visible in subsequent layers. If you find yourself focusing too much on the details of the figure rather than the larger areas, use a painting knife. The goal is to create a sense of light, so check the relationship between the lightest and darkest patches to achieve a sense of illumination. If the painting doesn’t glow enough, it may mean that the dark areas are not dark enough.
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