In Actual Practice, painting is seldom carried out in a definite number of separate clean-cut stages. One procedure merges with another. However, for convenience in a demonstration, or for such a book as this, the breakdown into separate stages seems advisable. (See Plate 26. Refer also to the earlier demonstrations on painting the woman and the man.)

We are now ready to place the small darks within the large shadow mass. The tones for these are made by lowering just a little the tone previously mixed for the shadow. (See Mass No. 5, page 78.) Keep even the darkest areas soft and delicate.

Darks on the hair are made by using the same colors as in the first hair tone. This is done by producing, first, a darker green by adding more ultramarine to the yellow and, if necessary, cadmium red deep in place of the cadmium red light.

For this intermediate tone between the light and the shadow, add a little cadmium red light and cadmium yellow light to the first flesh color mixed. If it appears too warm a little cerulean blue will cool it.

For the lights we again use the first flesh tone, adding a little white to heighten it. On the hair the light may run as high as white with a touch of cadmium yellow light. For the cool tones on the face, use the green made of ultramarine blue and cadmium yellow light, applying it over the flesh tone wherever the cool tones occur.

PLATE 26

Second, Third And Fourth Stages Of Painting

The text on the previous page describes all essential moves. Note degree of refinement.

Blue Key-Painting the Child Color Plates

PLATE 28

Final Painting Done With Blue Key
 
A palette with as many colors as this is suitable for a wide variety of subject matter but ideal for blonde types like that above. In setting your palette don't forget that these color plates were greatly reduced; the one opposite was painted about twice this size, so each patch of color had four times this area.

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