Headpainting process. Two layers. (Patreon)

It will be a small painting just 50x50 cm. A painting of this size as usual does not imply many elements. Thinking about this work, I planned the process of glazing over gold and creating an ornament over gold.

I have seen this method on icons before but felt really inspired to incorporate it in my own compositions after visiting in the National Art museum of Ukraine. There is a large collection of local icons of the XVll-XVlll centuries (baroque). I liked this effect and decided to take it for my composition. However the next few posts will be devoted to this process, but today I am talking about the head for this composition. If you watched my previous body painting processes, then you probably already understand the principle of form modeling. This composition not an exception , moreover I even used the same colors with the only difference that in this case I used more black and in the lightest areas even Prussian blue. This is due to the cold color of the entire composition. Eventually the difference is that in this video I am showing the second layer of painting that I apply after the first layer has dried. At first glance it may seems like I'm performing the same action twice, but in reality it is not. The second layer also consists of two stages, namely a transparent layer and an opaque one, but there is a difference between the layers since in the second layer I am not working with the shadow. Even in light part I sometimes only touch the most prominent points. Moreover, this method makes it possible to correct mistakes made in the first layer. In short, this method is noteworthy. The contrast of the image will increase after the second layer, therefore, when I working with the first layer, it is necessary to get maximum light for light and maximum light tone for shadow. The difference between the light and shadow should not be significant, then after applying the second layer, the light will be bright and the shadows are deep enough, but at the same time shadows will be transparent.

Colors for transparent.

Warm mixture for nose and cheeks:

Burn sienna

Madder lake red transparent

Ivory black

Cold mixture for neck, forehead and chin:

Raw sienna

Yellow ochre

Ivory black

Colors for opaque.

The same colors but with ivory black or Prussian blue.

Obviously, it is necessary to use an intermediate layer of varnish between the layers. I used shellac, but I cannot say that it is a good retouching varnish. Shellac is not in principle retouched but I like to use it. That's all . Thank you . In the next post I will show the gilding for this work and the gilding texture.