I have a problem with flemish technique...
Close up of a portrait of a young lady.
After i have finish a dead underlayer, i have a problem with first color layer... actually what are the rules for applying and mixing the paint for the first color layer?
1. Do i need to mix flesh tones with premixed dead underlayer mixtures?, or with the thin glazes to cover the whole dead layer?
2. Do i need to cover all area of dead layer or only some parts of face, and which parts?
3. If i need to glaze whole face with thin layers of paint, do i need to glaze with only one color at a time (for example, mixed burnt sienna and yellow ochre as a flesh color and after this glaze applied and left to dry completely go with darker glaze on dark places?
4. Or to mix all the colors (dark, shadow, half shadow etc) at the beginning of the glaze and apply them to paint rather then going with one color at a time?
I have read that some underlayer needs to be left without paint where green/grey is not covered by glaze.
Which parts of portraits is need to left without glaze to achieve "natural looking" flesh color?
I hope that the question is understandable, because i am a little confused with this.
Thanks in advance.
Thanks Alex for the questions.
They are very good ones, and it points to one of the reasons I haven't developed an electronic book or video on the subject of portraits. Its just plain hard!
I'll try to answer these questions as best I can, but portraiture is not my strong point.
Your first color layers
will have mostly the grey mixtures with some color added to these mixtures. I like to use the most opaque and thickly applied paint in the highlight areas, and the glazes (and most thinned) are used for the shadows. The halfshadows are left as is.
That's it in a nutshell. Follow those rules and you'll make a great painting! But you don't have to follow that particular set of rules.
Some artists will glaze each area with thin colors slowly building up to the final color they want. This is done over the entire painting, and sometimes it is done only in sections of the painting. It is a personal preference and one that you make as you work with different techniques.
Doing multiple thin glazes is difficult
in that you must understand what the next color will do to the underlaying color.
Glazing with a yellow, then coming back in with a blue will give you a green tone.
So these things must be remembered when using a "glazing only" technique. Some colors lend themselves to glazing. Alizarin Crimson is one such color. It is a favorite of mine to use when you want just a touch of rosy cheeks on the portrait.
After your initial color layers are done, a simple thinned glaze of this color over the cheeks and end of the nose will liven up any portrait.
This is just one example. As seen in my example portrait above, after the initial colors were dried, I came back in with the glaze around the cheeks, neck and even shoulders.
I hope this answers your questions.