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Three-Color Key

Demonstration Two Painting The Man

Chapter - 16

Painting The Man

We Recall That for the man we can use a very limited palette, the three-color key presented on page 18. (See also the reproduction of this key in full color, page 62, and a typical portrait of a man as painted with it, page 63.)

It is not necessary to repeat the detailed development of the painting, as already presented in connection with painting the woman, since the same general procedure would be followed. Also, part of this procedure will again be given when we come to our demonstration on painting the child. But study our accompanying step-by-step illustrations, together with their captions.

In painting both woman and child, soft, delicate tones are used; the features are smooth, rounded and not very pronounced. With the male it is the opposite. The bone structure is prominent; the features in most male faces have an almost chiseled effect, and ruggedness prevails.

This impression of masculinity is best achieved by brush technique acquired through painting experience. Briefly, when painting the light, dark and middle tones of the face, don't blend them too evenly where they join; break them together, letting brush strokes show. A few other bold brush strokes can be emphasized, as around the eyes, on the side of the nose, and under the cheekbone where the cheek meets the nose. Lay high lights with a deliberate stroke on the chin and neck.

This will require practice, and, as a preface to this practice, you must assume a rugged attitude. Man's only beauty lies in his personality, so this is what you must try to express on your canvas.

PLATE 14

First Stage Of Drawing

Arrows and numbers indicate direction of brush strokes, and the order in which they are executed.

PLATE 15

Second Stage Of Drawing

Hairlines, ears, and neckline at left of model have here been established.

PLATE 16

The Completed Drawing

The entire shadow mass is finished, from hair down to face and on to the clothing. This completed drawing forms the foundation for the painting to follow.

PLATE 17

First Stage Of Painting; Five Masses

1. Background Tones: These are mixed with white, yellow ochre and viridian. They are grayed with ivory black.

2. Light Flesh Tones: Mixed with white, yellow ochre, light red and a touch of viridian.

3. Shadow Tones: Same as "2" darkened a few degrees. (Never use black for this.)

4. Hair Tone: Mixed with ivory black, viridian and, if brown is required, light red. High lights are made by addition of white.

5. Sweater Tone: Viridian, light red, yellow ochre.

PLATE-18

Second And Third Stages Of Painting

Second Stage Color: Using same colors as first shadow, deepen the tone. (Instructions, page 35.)

Third Stage: Now comes the ruddy tone between the light and dark masses. To the first light flesh tone add light red, yellow ochre, and a touch of viridian. In value, this tone should be about halfway between the light and shadow. (Instructions, page 36.)

PLATE 19

Fourth And Fifth Stages Of Painting

For the high lights, add white to the light flesh tone. As they go down the face, cool them with viridian and yellow ochre. This also lowers the value. Wherever a cool effect is needed, add yellow ochre and viridian to the flesh tones.

Three-Color Key Color Plates

PLATE 21

Final Painting Done With Three-Color Key

It is hard to realize that a painting with so much chromatic richness could result from hut three relatively neutral colors plus black and white. This proves that the artist doesn't need a lot of colors in order to portray a subject adequately.

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