Page 68 - TheDecorativePainter_DP4_Winter_2018

Pick up Mocha and add highlight into the Raw Sienna. Because Mocha is somewhat chalky, it will carry pretty far and may even travel into the Burnt Sienna. Highlight lower lip with short vertical strokes of Mocha. See Figure 4.
Compare Figures 3 and 4. It’s not just the details that make the difference. (There is a slight unintentional difference in the smile.) But, more importantly, the angel looks younger in Figure 4. The values used between the eyes and bridge of nose are lighter and pretty much the same. This keeps the nose bridge softer. Now, compare your piece to Figure 4 and, if necessary, eliminate any stronger darks. Also, the highlights on the forehead, eyelids, cheeks, and nose are brighter than the highlights on the chin and neck. This emphasizes that the viewer is looking down on the angel and the angel is looking down. She may appear somewhat chalky at this point.
Blush the bottom of cheeks and the tip of nose with a wash of Burnt Sienna.
Using a liner and Burnt Umber, add lashes and eyebrows. Notice that the lashes are longer in the center. If these become too heavy, stipple some Mocha and/or Raw Sienna over them. See Figure 5.
HAIR
Mark the hair part with your General’s Charcoal Pencil. Stroke in Burnt Umber, starting at the end of the bangs, curving toward the part (see line drawing). Stop the stroke just before the part, so some of the background still shows through.
FIGURE 6
Repeat with Burnt Sienna, then Raw Sienna, and finally Cadmium Yellow. Each time you pick up a lighter color, cover a smaller area. Shade back of head with Burnt Umber. Depending upon how much of each of these paints are used, the angel can be a blonde, redhead, or brunette.
FIGURE 8
Once dry, add a few highlights of Buttermilk.
Paint the legs, rest of arms and hands following the same steps as for the face. Her shoulders are symmetric, but her arms and hands are not. One hand is inside and above the other.
WINGS
Check the wings for symmetry before painting them. You may have to
make one slightly longer or shorter than the other – it is more important (and noticeable) if they are not symmetric with respect to the box edges than with respect to one another. Use a round brush or liner and outline the feathers with Slate Grey. See Figure 6.
Add details to the feathers with Slate Grey. See Figure 7.
Use Lamp Black to remove the outline. See Figure 8.
Stoke in more detail to the upper feathers with Snow White. Edge the top of the wings with a single continuous line of Snow White. See Figure 9.
Once the wings are dry, glaze with a mixture of Lamp Black and Glazing Medium (1:1) or a wash of Lamp Black where the wings tuck behind and connect to our angel. See Figure 10.
GARB
The dress is dry-brushed with Slate Grey; highlights are Snow White. If it becomes too heavy, especially in the corners, dry-brush with Lamp Black. The sleeves, only after the arms are completely dry, are painted the same way. Keep the paint sparse so the sleeves appear transparent. The edge of the sleeves cast a faint shadow of Burnt Sienna onto the arms.
FIGURE 9
FIGURE 7
66 TheDecorativePainter • WINTER 2018
FIGURE 10