About Karin

Karin Wells is an artist of amazing versatility. She graduated with honors from both the New England School of Art and Design, Boston, 1965, and the Butera School of Art, Boston, 1986. Karin has enjoyed a career as an award-winning graphic designer, illustrator and sign painter. She also taught Life Drawing and Painting for many years. She has most recently studied for three years at The New England School of Classical Painting in Greenfield, New Hampshire, under the direction of Numael Pulido.

To expand her craft, Karin has traveled throughout Europe studying the Old Masters. Her art reflects the deep influence of these great works. Karin demonstrates a remarkable facility for likeness and for the use of light.

The artist is a member of The American Society of Portrait Artists, Portrait Society of America, The Portrait Society of Atlanta, and The Copley Society of Boston.

To learn more about Karin and to view more of her amazing work, be sure to visit her website and blog by following the links below:

Website: http://www.karinwells.com/

Blog: http://karinwells.blogspot.com/

If you would like to be notified when Karin updates her blog, be sure to click the “Follow” link in the upper left hand corner of her blog.

How Ivory Black + White = Blue

With the “Earth Palette” I can use a mixture of Ivory Black and Titanium White to make what appears to be the color blue. When using an earth palette, this mixture does NOT make gray, really! All of the so-called “blue” in my paintings are made from this and you can see it in the examples below.

In fact the blue from an Ivory Black and White mixture is so “electric” I often need to tone it down by adding some reds and/or yellows.

If I wish to deepen and enrich an area of this mixture of “blue,” I could glaze a little French Ultramarine or Prussian Blue over it….but rarely, if ever, need to do this.

None of the examples below have any glazed colors to make the blues look bluer – they are all a black/white mixture – and most have yellow or red added to calm it down.

The drapery behind the figure is purely black + white. The black/white mixture in the sky is cut with raw umber and raw sienna.

I added a little red into these black and white mixtures to get a blue that is a bit on the purple side.

The sky is basically black and white with some reds added for warmth near the horizon line. I darkened and slightly neutralized the blue at the top of the canvas so as not to draw the eye upwards.

Again, the black/white mixture needed to be cut with raw sienna because it was much too bright for a background.

I began the blue checkered tablecloth by mixing a thin glaze of French Ultramarine + Ivory Black to sketch in a pattern of checks over a plain white painted cloth underneath.

When it was dry, I matched the paint value with the black/white mixture and covered it up in order to create the ilusion of a blue checkered tablecloth.

Of course, the shadow areas were a darker black/white mixture with raw sienna added for warmth (shadows are supposed to be warm).

Take a peek at my black & white sky at:

http://karinwells.blogspot.com/2008/03/cliff-landscapes.html

With this particular earth palette, I cannot paint a landscape and make a sky look “natural” if I use any blue paint on my canvas.

When I was learning to paint, I copied the Old Masters – I especially learned most of what I know from Vermeer. I quickly learned that I was unable to duplicate the colors unless I eliminated the blues.

About Karin

Karin Wells is an artist of amazing versatility. She graduated with honors from both the New England School of Art and Design, Boston, 1965, and the Butera School of Art, Boston, 1986. Karin has enjoyed a career as an award-winning graphic designer, illustrator and sign painter. She also taught Life Drawing and Painting for many years. She has most recently studied for three years at The New England School of Classical Painting in Greenfield, New Hampshire, under the direction of Numael Pulido.

To expand her craft, Karin has traveled throughout Europe studying the Old Masters. Her art reflects the deep influence of these great works. Karin demonstrates a remarkable facility for likeness and for the use of light.

The artist is a member of The American Society of Portrait Artists, Portrait Society of America, The Portrait Society of Atlanta, and The Copley Society of Boston.

To learn more about Karin and to view more of her amazing work, be sure to visit her website and blog by following the links below:

Website: http://www.karinwells.com/

Blog: http://karinwells.blogspot.com/

If you would like to be notified when Karin updates her blog, be sure to click the “Follow” link in the upper left hand corner of her blog.

Losing a Likeness and Finding It – Again and Again

It’s not rocket science but if you “lose it” as often as I do, you’ll need a sure-fire way to get it back with a minimum of fuss and bother.

(Click Image For Larger View)

I work in many layers – building light and skin tone as I go. It is all too easy for my lines to take a hike and this is when I “lose the likeness.” But you don’t have to work in layers to adapt this method.

It is not that hard to get your likeness back, but it is important to do it when you first notice so that the corrections will be small and relatively easy.

(Click Image For Larger View)

In another post I explained color banding. After I was done with that, I saw that my likeness was gone.

Drat.

So here’s what happens next:

(Click Image For Larger View)

Since I correct with raw umber, I put a thin glaze of that (with Liquin as my medium) on the dry surface to “warm it up” a little.

And then I let this glaze dry before moving on. (If it isn’t dry you’ll have a real mess to deal with.)

(Click Image For Larger View)

Above is the acetate with my original drawing. It is positioned over the painted face that needs correcting. I will reuse the acetate in this manner each time I “lose it.”

By using clear acetate instead of tracing paper to transfer a drawing, I am able to see through it. So whenever I wish, I can always easily reposition the acetate accurately in order to make a correction.

Note: I only use “Prepared Acetate” – meaning that you can draw on the surface. I always use an “Ultra Fine Point Sharpie” permanent marker to draw on the acetate because that brand won’t bead or smear.

(Click Image For Larger View)

I rub a pastel (this one is white) into one side of a sheet of tracing paper and use it like old fashioned “carbon paper” to transfer my drawing.

I have several sheets of different (neutral) colors and values handy – If you’re careful, they’ll last for years.

(Click Image For Larger View)

I correct with thinned raw umber if I need a darker line or area. And use a thicker raw umber/titanium white mixture if I need to lighten an area or cover up something.

Value matters much more than color in correcting.

In the picture above you can still see the transferred pastel lines. The pastel will simply “melt” into the wet paint as you correct.

Since highlights help define form, I am careful to check their location and reposition them if necessary.

(Click Image For Larger View)

The corrections are done (above) and I have brought back the likeness.

Whew.

This layer must be dry before moving on.

(Click Image For Larger View)

To eliminate that “chalky” look, I have “tapped in” a burnt umber glaze over all the skin tones.

I use the term “tap in” to describe how I apply a glaze. I use a tapping motion with my brush as I do not want any brushstrokes show. By the way, please note that ALL glazes are transparent (and sometimes translucent) colors. Glazes are not ever meant to be opaque (think of looking through a stained glass window).

TA DA! I’m back on track.

When this is dry, I’ll begin yet the next layer of skintone scumbles, building light, color banding – and correcting yet again if I have messed up.

Working in layers give my portraits that Old Master lighting and glow….it takes time and I paint other things (and blog) while I wait for my paint to dry.

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

About Karin

Karin Wells is an artist of amazing versatility. She graduated with honors from both the New England School of Art and Design, Boston, 1965, and the Butera School of Art, Boston, 1986. Karin has enjoyed a career as an award-winning graphic designer, illustrator and sign painter. She also taught Life Drawing and Painting for many years. She has most recently studied for three years at The New England School of Classical Painting in Greenfield, New Hampshire, under the direction of Numael Pulido.

To expand her craft, Karin has traveled throughout Europe studying the Old Masters. Her art reflects the deep influence of these great works. Karin demonstrates a remarkable facility for likeness and for the use of light.

The artist is a member of The American Society of Portrait Artists, Portrait Society of America, The Portrait Society of Atlanta, and The Copley Society of Boston.

To learn more about Karin and to view more of her amazing work, be sure to visit her website and blog by following the links below:

Website: http://www.karinwells.com/

Blog: http://karinwells.blogspot.com/

If you would like to be notified when Karin updates her blog, be sure to click the “Follow” link in the upper left hand corner of her blog.

Painting Skin Tones – One Layer at a Time

There’s a Zen to painting in layers.

You have got to enjoy the process or this isn’t the method for you….(but don’t worry, there are lots of ways to paint a portrait & get a similar result). Personally I like any way that is easy. And this is pretty easy – but alas, it isn’t fast ’cause you just have to wait for those layers to dry before moving on.

“It is good to have an end to journey toward, but it is the journey that matters, in the end.”

-Ursula K. LeGuin

On the left side is a picture of the last completed layer (uncorrected).

On the right is the current layer (uncorrected).

That short journey from left to right is the subject of this little mini- demo on how to paint a layer on a face. (Of course, the same process works for hands, feet, all skin showing).

I use this method (multiple layers) to build light and form in small increments in order to get the luminosity of the Old Masters.

The more layers I paint – the more luminous it gets.

This example is only one of the many “middle layers” and merely illustrates a small (and relatively easy) step that goes into painting a portrait.

This particular face is small, only 3.25 inches high and this entire layer (shown) here only takes me half an hour (more or less). It is a lot easier and faster than it looks – really!

The hard part is waiting for my paint to dry so I can begin to build the next layer.

While I wait, however, I work on background, clothing, props, other paintings, this blog, run errands, eat lunch…you get the idea.

This is the corrected face from the last demo on losing/finding a likeness. It is now ready for yet another layer.

I begin by reinforcing the lights (Titanium White) and the darks (Raw Umber thinned with Liquin) to increase the contrast. I try to avoid hard edges in this.

I let this dry thoroughly (i.e., overnight).

This is the palette I use in a layer. It does not matter if the skin tone is light or dark…the colors are the same but obviously the values will be different.

I mix/match the approximate skin tone (raw umber, burnt umber, raw sienna, titanium white), mix it with Liquin and scumble it over the entire face.

Note that my paint is never so thick that I cannot see through it to the layer below.

See why I reinforced the darks & lights to bump up the contrast?

Into the wet surface, I add color. See my demo on Old Master Color Banding in Portraiture for particulars.

I blend those colors in.

This is how I mix “The Universal Color of Light.”

I use this “Universal Color of Light” to build light on the face (or just about anywhere).

If the light looks chalky, I add more yellow.

If the light looks too yellow, I add more white.

I continue pulling the light down into the face. I am only working with light – not color.

I continue adding light. I locate and reinforce the centers of light with thicker paint.

I add more light, work it in and let the light build and define the form.

I continue to define the form with light.

I add even more light into the centers of light (as defined by the highlights).

I work this light in and build form. I allow the light to go into the hair.

This layer is done and it must be allowed to dry thoroughly.

I did correct the above pix, then went on and painted the next layer below.

ABOVE: Here is a peek at the next layer (uncorrected as to likeness, without a skin tone glaze and ill-defined features). The light is now so thick you cannot see the weave of the canvas through it. I’ve started to work on the hair. I wish this photo wasn’t so small – it is really quite a jump forward.

This is a detail. You can see the color locked underneath as I build light on this face.

Next:

*
I’ll correct the likeness and define the features with raw umber and let it dry.

*
Next I’ll glaze this back into a skin tone and let it dry.

*
Then I’ll match a scumble to the skin tone and work color (bands) into the face

*
I’ll let this dry – and repeat the process if necessary.

Considering how “unfinished” this stage looks right now, it is relatively quick and easy to transform a face with several layers of light into a finished face.

This is a detail showing how the light flows over the face with what is underneath still being visible. Do NOT paint around features like eyes, eyebrows – and don’t be afraid to paint over the entire face in order to define the light. It is the paint that shows through that gives a painting its subtle beauty of form.

NOTE: I usually do the face LAST as the skin tones are really determined by what surrounds it (i.e., the background). So I’m going to stop working on the face now and bring the rest of this painting into being before I get all the color into this face.

I just keep repeating this entire layering process until the face tells me when it is time to stop and finish.

“Everything the same; everything distinct.”

- Zen Proverb

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

There are a LOT of ways to paint a portrait. I use several different methods (and sometimes combine them) depending on what I think is best at the time. Sometimes I even remember to take pictures of the process.

This portrait of Gwyneth (20″x24″, oil on linen) won the Certificate of Excellence at the Portrait Society of America’s International Portrait Competition in Philadelphia this year (2008).

Here’s how I did it:

This a drawing on Acetate. I use prepared acetate instead of tracing paper because I can see through it. Believe me, it comes in handy later in the painting if my lines begin to “wander” and I need to correct.

I use a “Sharpie” Permanent Marker as it makes a clean line and doesn’t smear.

I use a sheet of graphite paper and a ballpoint pen to transfer the drawing to the canvas. Acrylic paint will cover graphite (pencil). Oil paint will not cover graphite so if I were painting in oil, I’d need to erase my original lines and replace them with a Sharpie line.

I used acrylic paint for my first layer. In order to do this, I needed to use an acrylic primed linen – acrylic paint will not stick to oil primed linen and will not be archival.

I use Golden Matte colors. I try to stick to the dull halftone, neutral earth colors.

For the color “white” I choose a dull warmish neutral – about the value of a brown paper bag. Nothing will be lighter in value than this.

If my subject has light skin, I use the same paint and color for the skintones as my “white.” If my subject has darker skin, I deepen the value accordingly.

I may need to put on more than one layer of paint in order to cover the canvas and make it flat – like a poster. It is a good way to lay down my basic composition and make a definite statement of shape.

Two thin layers are much better than one thick layer. And I try not to leave ridges.

Posterizing is a good way to see if a composition works. This layer could be in oil but acrylics are a faster way to saturate the canvas.

I chose a medium value paint for all the objects and was thinking “halftone” (the space between light and shadow). Once the white of the canvas is covered up – it doesn’t look so dark.

I always establish black and white immediately in an underpainting. It will help all the other mid-range values fall into place.

Gwyneth Demonstration Part 2 >>

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

How to paint water drops on a horizontal surface in four easy steps. By Karin Wells

This little 8″ x 10″ painting has a lot of water drops. I like to add fun (and fast) details to a dry painting surface at the end.

I posted the largest file allowed for this so you could see better detail if you click on the above picture.

Here’s how to do it when the light source comes from the upper left:

DROP STEP 1

I use a dark color – raw umber works for me but any transparent dark will do. You are making the shape of a drop. A cast shadow will be on the lower right (i.e., Darker).

This particular view is from the side on a horizontal surface. If you had a top view, for example, you would draw it differently of course, but the principle is exactly the same.

Detail (above)

DROP STEP 2

You will be looking through the water and it creates a soft shadow on the top left and the harder, sharper cast shadow on the lower right.

More detail (above)

DROP STEP 3

Light will be reflected on the top right and will define the top of the drop.

I use Zinc White so the original color shows through. The light does NOT touch the shadow and the color of the surface shows through between the light and shadow.

DROP STEP 4

Add a highlight in the shadow area. I use Titanium White for this as I want it to be clearly defined and opaque.

Painting drips and drops is really a piece of cake, isn’t it?

Above detail from Cherries Still Life.

And bugs are fun too.

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.