My working process;.--- I select my reference and begin a detailed face preliminary line drawing, transferred to canvas , and starting refining on getting a general likeness, with shading stablishing my values, I aim for a finshed drawing in this early stage, I like to solve any drawing problems, that could be an issue later on in the painting, but around the figure face the lines are complete loose, my stage 2 is the imprimatura with burnt umber and raw sienna I´ve always used the "fat over lean" principle, since I´ll be building my painting in layers, I do not use any oily médiums in the early stages, creating or keeping a certain amount of luminosity, keeping my shadows thin and translucent and the ligths thin and opaque, then the portrait is lifelike three dimensional -feel
The stage 3.- is underpainting creating color harmonies and keep them unified, one rule I like is to use the same colors used on portrait are used into the background,when it is posible, --- I like the underpainting to show through, this portrait it is rather small so features are practically similar color but with the necessary edge for the flesh tones I do not premix the paints for this particular size . then I blocked the face with ultramarine wash and then start in the shadows with de different colors added as needed, all this notes are just for the face because I want the person looks as it is; for the rest of the background painting I work in accordance but not necessarly identical to my reference here is where I apply harmony, color and feeling to créate a shape and space composition, finally in order to get a better result, and sometimes I´m doing a combination of material techniques to enhance a color and/or shape
Ref PO646 Portrait of a poem
She is a great dancer, so as an artist part of her job is to be in tune with the steps of life to deepen the mystery, I like most of their pictures from where I took this amazing and wonderful portrait reference from Mahafsoun
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