Ken©2009 C.L.Burgess oil on canvas 20 x 24 and closeup detail
While Hanna is drying a bit, I thought I would work on Ken. He is a model I use in my own studio now and then. For another image of Ken click. I started this on from life back in August and now am referencing the photos I took,to complete the image. I had established the form in the bold colors I saw after drawing him in a mixture of ultra marine blue and burnt sienna which make a rich blackish tone. ( Once again the images online are washed out compared to the real thing, except when you click on each one and see them closer. )
This is almost done, too. I have to wait a day or two to check on how the background and jeans will dry. I may also touch up the T-shirt.
Since Ken has been sitting around for a couple of months, I gave him a light spritz of retouch varnish to resume painting. This canvas is a tight weave and almost like linen unlike the one I used for the portrait of Hanna.
My palette consists of strings of color(pre-established values) : vermilion, a flesh tone made from cad red light and raw sienna plus white, alizaron crimson, yellow ochre, cad yel med, burnt umber, raw umber, cad orange, French ultramarine blue, prussian blue, green umber, cad green, ivory black. I use Liquin or Neo Meglip sparingly, mostly to glaze. I use a wide flat brush for the background and large passages of color. For the figure I use a #4 or #6 Princeton or Utrecht synthetic filbert. (Sometimes I also use those 2.99 synthetic brushes hobbyists use(oh my!) and then toss them in the garbage when they get ratty.) I like the softer brushes for portraiture.