该层可以是可怕的,因为它看起来很激进的…但它基本上让皮肤其亮度。有些人开始用它但是我等到周边地区建立在我使用任何白色油漆。
我通常保存脸直到去年因为肤色取决于什么围绕着它。首先,我画的那张脸和生赭,让它干。然后我开始使用纯锌白色——直接从管和构建形式。后来我开始使用更多的不透明的钛白颜料。
我通常不画在一个颜色(如头发)但我意识到我需要构建光在脸上和头发一起。
脸上画底色是完成了。它使好几天,是一个非常缓慢的过程。这需要只要它需要。有必要获得一个肖像从现在开始。
下面是完成的手。我总是underpaint任何皮肤显示。
我认为这个阶段看起来吓人。它把所有的颜色和价值观了,突然这幅画看起来阴暗而沉闷。
但是不要灰心,它只是一个临时的条件。
下一步-釉。
原文如下：
This layer can be scary because it looks so radical…but it basically what gives the skin its luminosity. Some people start with it but I wait until the surrounding areas are well established before I use any white paint.
I usually save the face until last because the skin tones are determined by what surrounds it. First, I draw the face in with raw umber and let it dry. Then I begin to use pure zinc white – straight from the tube and build form. Later I begin to use the more opaque titanium white paint.
I don’t usually paint over a color (as in the hair) but I realized that I needed to build the light on the face and hair all together.
The face underpainting is finished. It make several days and is a very slow process. It takes as long as it takes. It is necessary to get a likeness starting now.
Here are the finished hands. I always underpaint any skin that shows.
I think that this stage looks scary. It throws all the colors and values off and suddenly the painting looks dark and dreary.
But take heart, it is only a temporary condition.
Next step – glaze.
