Into Shadows

self portrait, 20" x 16", oil on panel (in progress)

I've added shadows to the face in two steps (had I remembered to photograph it in-between you'd have seen them separately). First, I thinned Burnt Sienna with turpentine and blocked in the majority of my face, which resides in the shadows, then I let it dry thoroughly. Second, I thinned Ultramarine Blue and added the darkest areas of shadow. The thin layers of Burnt Sienna and Ultramarine mix to black, optically in this case. Once this layer has dried I will apply another layer of Burnt Sienna to soften the contrast and ease the transitions.

Traditionally (somewhat of a generalization), shadows were painted thinly. Thick paint is simply unneeded in these circumstances. This is not to say that shadows were devoid of subject matter, just that you only need suggest what is there, the mind of the viewer will fill in the rest.

As a result of the warm imprimatura and warm glazes I'm using, the shadows are... warm. Eventually, you will see in this painting that the lit areas are cool. This is also a fairly common occurrence in painting. Typically, the light and shade will be of opposing temperatures.

I suppose I should note that I also glazed my hat and shirt once again with a Burnt Sienna/Ultramarine Blue mixture. (I know, I need to come up with some abbrev. for these pigments, etc.)