Painting Process: Step 4 - Block In The Colour

I began this step of the process by critically looking at the state the image was in. In the previous step I had noted that some of the features needed adjustment. Using some undiluted 'burnt umber' I blocked in and painted over areas, correcting the spacing and size. Once I was happy, I placed some small blobs of yellow ochre, cobalt blue, jet black, titanium white, terre verte, cadmium red and yellow, and alizarin red onto my palette.

Using my under-painting as a guide, my next step was to block in the two base colours found on the subject's face; i.e. a warm yellow ochre and a cool mauve. I fought the temptation to work in too many of the finer details. This can often be a trap for an artist. Painting in layers, and progressively adding more colour and detail with each layer, delivers a far better result. I'm primarily concerned about establishing an accurate and well painted base layer at this point.









As I paint, I frequently take steps back to look at the painting from a distance. I even leave the room and return a few seconds later to stare at the canvas. This all helps reveal areas which need correcting and adjustment.

I tend to use 'terre verte' regularly as a way to cool areas of my paintings; particularly the shadows. Colour theory states that warm colors advance or appear more active in a painting, while cool colors tend to recede. So by cooling my shadows they appear to fall off and add depth to the form.

The overall duration for this step was roughly two hours and fifteen minutes. In my next post I will continue to refine the major features, block in a rough background, and correct any anomalies.