Italian Girl Written InstructionsAfter Bouguereau: The Bohemian (page 2)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
The Bohemian
Surface Portrait grade 20x24 portrait grade canvas.
Transfer Information Transfer the design to the surface with gray graphite. Coat the graphite with varnish such as Final Coat.Coat the surface with the varnish any time the paint feels “grabby”.
Palette Set up and mixing The original piece was painted with Genesis Heat Set Oils. There is a conversion chart included if you care to use traditional oils.
Mixing Formulas Formulae for mixing is given throughout this lesson. You will find that the mixes for the hue are given first. This is followed by a colour that will raise or lower the value. Once the value and colour are mixed, the next addition usually is meant to either brighten or dull the colour. Finally, a colour may need to be mixed into the pile that will adjust the temperature.
Abbreviation Archival Winsor & Newton Genesis
W Soft Titanium White Titanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Genesis Yellow R Cadmium Scarlet Bright Red Genesis Red QC or RV Permanent Alizarine Alizarin Crimson Quinacridone Crimson UB Ultramarine Blue Ultramarine Blue Ultramarine Blue BU Burnt Umber + R Burnt Umber Burnt Umber RS Raw Sienna Raw Sienna Raw Sienna Blk Mars Black Ivory Black Carbon Black PB Cerulean Blue Cerulean Blue Pthalo Blue NY Naples Yellow Naples Yellow RS + TW + Y OG Olive Green Olive Green RS + UB + BU BC or PM Purple Madder Alizarin Purple Madder RV or QC + Blk PG Pthalo Yellow Green Cadmium Green Pale UB + Y + W
Mona Lisa Paint Thinner
TW: Titanium White Y: Genesis Yellow R: Genesis Red O: Orange (or mix R + Y) QC: Quinacridone Crimson UB: Ultramarine Blue RS: Raw Sienna
BU: Burnt Umber RU: Raw Umber or BU + Blk BS: Burnt Sienna (optional) Blk: Mars or Carbon Black PB: Phthalo Blue 01 PG Phthalo Green 01 Optional Grays: Values of Gray 02-08 or mix with TW + Black
Mixes: WW Warm White: TW + a very small amount of Y BT Blue Tint: TW + PB
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 3)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Low Dk
Sepia/Bistre Underpainting
Start with a white, primed canvas. Thin a mixture of BU + a small amount of Black or Raw Umber with Paint Thinner. It should be thin enough that you can draw on the canvas. Paint in the dark sections of the canvas. If a section becomes too dark, load a brush with Paint Thinner and scrub out the light sections.
Wash the flesh sections in with a very light value. This is the lightest section of the entire piece. Darken the outside edges of the arms and each finger and palm. Add a dark value in the eye sockets, under the chin, and nostril open- ing. Add a darker value to define the cheek/nose area.
The painting must be dry prior to moving to the next stage.
Stage Two: Color Wash Wash each object with the colors listed. This is a transparent layer so as to begin to bring the objects to their local color. Thin each color with paint thinner so that the sepia underpainting glows through.
• Wash the red shawl with R + QC
• Wash the green shawl with PG01
• Wash the flesh tones with TW + R + Y + RS
• Wash all blue sections with PB
• Wash the violin with BS
• Wash the black sections on violin and hair with Blk
• Wash the apron and child’s hair with RS
• Wash the background buildings with UB + QC
• Wash the leaves and foliage with UB + Y
• Wash the apron and child’s hair with RS
• Wash the background buildings with UB + QC
• Wash the tree with BU
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 4)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Face, Hand and Feet Block in the face and handswith the flesh tones.Reference the placement guides. Add light value where you see light gray, use medium value where you see dark gray, etc. Use a soft brush to create a smooth appearance. Block out the sepia tones underneath. Ignore details such as the eyes, mouth, nostrils, etc.
Blend the values together slightly. While blending, keep the brush half on one value and half on the other value. Blend using virtually no pressure. Just melt the sections together. All sections will be reinforced when dry.
Flesh Tones Medium: TW + R + Y + RS Light: Medium + TW + Y High Light: Light + TW Warm White: TW + Y Dark: Medium + RS + R Low Dark: Dark + BU + QC Reinforcing Dark: Burnt Sienna or BU + R
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 5)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 6)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Green Shawl
Base coat with PG01 + BU. Add highlights with Blue Tint and shade with Blk.
Dress Base coat the dress with PB + BU.. Shade with Blk. Add highlights with TW.
Pinafore Base with Blk + BU. Add subtle highlights with Blue Tint (TW + UB)
Clothing Red Shawl Base coat with R + BU. Add highlights with Orange and shade with BU
Violin Wooden sections Base coat with R + BU or BS. Add highlights with Orange and shade with BU
Black neck, F holes and peg Base coat with Blk Add highlights with Blue Tint.
Metal bridge Base coat with Gray Value 05. Add highlights with Blue Tint. Shade with Blk.
Bow Base coat with Gray Value 08 + RS. Add highlights with Warm White with BU..
Background and Foreground Buildings Base coat with UB + QC + BU. Add highlights with Blue Tint and shade with Blk
Sky Base coat with TW + PB.
Boat, Bridges, Foreground, Bench Use a variety of warm grays (Blk + BU + TW) to create.
Tree Base the tree with BU + RS + Blk. Lighten with RS, RS + TW, Warm Grays
Leaves Base the leaves and tree line with UB + Y + RS. Add lighter sections with WW. Shade with Blk. Add accents of Orange. And Orange and Yellow leaves at the base of the tree.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 7)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
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After Bouguereau: The Bohemian (page 8)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Facial Features Transfer the features onto the dry painting
Eye: Place the iris of the eye with BU. With Blk add the pupil. The eye is a translu- cent ball therefore light passes through the eye. With TW + a dot a Y, add a high light in the upper right of the eye. Slightly in from the outside edge, add a light glow in the lower left of the eye.
Add the sclera (white section of the eye) using light gray with light flesh tones. The white of the eyes are not really all that white but a bluish gray. Into the wet paint, darken the corners of the sclera with Blk.
Add tear ducts in the inside corners with TW + R + RS.
Add the line of lashes with BU + Blk. Extend slightly beyond the lid. Avoid the temptation to add individual lashes.
Add the lower lid ledge with light flesh.
Around the eye, strengthen all dark sections with the original mixes used.
Add eyebrow with BU + Blk for Mother. The darkest section of the eyebrow is over the iris. Let it fade as it curves around the outside of the facial plane.
Nose: Strengthen the nostrils with BS or BU + R. Add TW + Y highlight on the right side of the length of the nose. This should be off center. Add the shadows under the nose with Dark Flesh tones.
Mouth: Place mouth using R. Add WW highlight on the lower lip. Dark top lip and division between using QC. Dark corners of mouth QC, QC + UB, Dark Flesh tones.
Final Stages
Shawl Decoration Base as follows: Yellow sections with RS + Y, Red Sections with R + BU, White Sections with TW + a touch of RS, Black Sections with Black. When dry, add WW highlight and glaze folds with Blk.
Skirt Add WW, Blue Tint highlights to skirt. Strengthen dark sections with Black.
Flesh Tones If the flesh tones are too pink or purple, glaze with RS or Orange. Add high- lights back into the wet glaze. Strengthen darks using the dark values from the flesh tones. Add blush tones with R.
Hair Basecoat hair with Blk. Add light sections with Blue Tint. Pull strands over the forehead and onto the background.
Strings on Violin Add the four strings with thinned Gray 08. They should appear translucent.
Violin Highlight violin with WW and increase darks with Black. Add a shadow from the shawl onto the violin with thinned Black.
Shadows Strengthen shadows under feet and skirt with Blk.
Varnish Varnish with Final Coat Varnish following manufacturer’s instructions. is dry.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 9)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 10)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 11)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 12)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.Kingslan & Gibilisco Publications © 2013
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 13)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.Kingslan & Gibilisco Publications © 2013
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 14)
Permission is granted to teach this project within a 100 mile radius of teacher’s home studio. Written permission is required beyond this point. Permission is granted to reproduce written material verbatim for teaching purposes only (one copy per student) and may not be resold, nor may it be rewritten into a different format.
Kingslan & Gibilisco Publications © 2013
Kingslan & Gibilisco Publications © 2013
After Bouguereau: The Bohemian (page 15)