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Extra resources for Artists & Illustrators [UK] (July 2016)
It’s very easy to get this wrong, especially if I’m making a big adjustment from sight size, but a few carefully plotted drawing marks can be very helpful. Once this is out of the way, I can begin to block in tonally. Curiously, at this point when I see the image emerging in terms of tonal blocks, I’ll make adjustments to the drawing and how the subject fits on the canvas. This sort of shuffling process will continue to some extent through the early stages so nothing gets nailed down too early.
Then I am ready to place the mouth, estimating where it is in relation to the nose and the chin. In most cases the upper lip is darker than the lower lip as it’s sloping in and doesn’t catch the light in the way that the bottom lip does. If you find the warm dark shape of the upper lip, the general light shape on the lower lip and then the shadow beneath the lower lip, you will go a long way to explaining the form in the area in just a few moves. I find it helpful to look at the line dividing the lips as a starting point.
8 FLOODING THE ELEMENTS I add the deeper tone to the lemon where it meets the chilli, and because this top edge is still wet, there is bleed from yellow into red. The wetter paint will flood into the less wet paint, and I like the addition of yellow to the red chilli. I decide to flood the lemon with wet pigment at its top edge too at the risk of more bleeding into the aubergine; I want it to look as saturated and ‘lemony’ as possible. 7 LET YOUR COLOURS MEET At this stage, the bottom edge of the aubergine, where it meets the lemon, has begun to dry somewhat unevenly as some areas were wetter than others.