PA I N T I N G P R O G R A M

Figure Painting Phase II:

Male Back–Adding Color

OVERVIEW
This exercise has a lot of great opportunities to really absorb the subtle nuances of the back muscu-
lature. This model’s lean physique not only reveals a great deal of muscle insertions but also bone
protrusions. These bony landmarks will ultimately serve as logical areas for muscle attachments that
once found, allow you to better interpret and redesign what you are seeing. As I am always saying in
class, I like to paint part what I see, part what I know, and part what I wish I saw. After all, we are
trying to cultivate great designers, not copyists.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

&$'0,80
5(' <(//2:
/,*+7 2&+5(

3$3(572:(/6
7,7$1,80
:+,7(

,925< %8517
%/$&. 80%(5

*$062/
:25.$%/(),;$7,9(

62/9(17&217$,1(5

(5$6(5

.1($'('
(5$6(5
&$19$63$1(/
+%3(1&,/
%586+$662570(17 6<17+(7,&RU5($/

MATERIAL S 0,6&(//$1(286
‡*DPVRO VROYHQW
PAINTS ‡FORYHRLO
‡<HOORZ2FKUH ‡2OGUDJV
‡&KURPDWLF%ODFN EOXHEODFN ‡3DSHUWRZHOV VWXUG\VKRSWRZHOV
or Ivory Black ‡4WLSV UHJXODUDQGFRVPHWLF
‡&DGPLXP5HG/LJKW ‡*UDSKLWH+%SHQFLO
‡7LWDQLXP:KLWH ‡3DOHWWH JODVVRUZRRG
‡%XUQW8PEHU ‡:RUNDEOHIL[DWLYH .U\ORQRU*UXPEDFKHU
%586+(6 ‡.QHDGHGHUDVHU
‡6DEOH±VRIWKDLUHG
‡5RXQGV YDULHW\
SETTING UP
‡)ODWV YDULHW\
‡)LOEHUWV YDULHW\ ‡0DNHVXUH\RXKDYHDOO\RXUHVVHQWLDOVLQ
‡%ULJKWV YDULHW\ JRRGZRUNLQJRUGHU QRVSOD\HGEUXVKHV
‡%ULVWOH±FRDUVH RUGULHGSDLQWV
±VDPHDVDERYH± ‡*HW\RXUFDQYDVSUHSDUHGLILW¶VQRWDOUHDG\
685)$&( ‡0DNHVXUH\RXUSDOHWWHLVPL[HGZHOOGURS
‡&DQYDVFDQYDVSDQHORUJHVVRHGPDVRQLWH VRPHFORYHRLOLQWRHDFKSXGGOH

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 2
1
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

ASSIGNMENT 4: MALE BACK–ADDING COLOR

In this exercise, pay special attention to navigating the back musculature. You will fill in the gaps
in your anatomical knowledge later. For now, paint more of what you see than know. Later, this will
be reversed. All in due time–patience will be your best ally on this journey.

Part 1: Watch the video. You may want to watch the underpainting first, then stop and execute it.
After that, move on to the color portion.

Part 2: Read over the handouts. Print or work from the provided reference on your iPad or similar
method.

Part 3: Start your drawing. Spend at least a couple of hours securing a nice, clean, accurate drawing,
and then seal it with fixative.

Part 4: Begin your stain of Burnt Umber and execute your pick-out.

Note: In this photo, we have a dual light source, so be careful. The dominant source is obviously from
the right. Fight to keep it as you move through this effort.

Part 5: Apply color over your underpainting.

Part 6: Bring up to a finish. Keep referring back to the video as much as is needed.

Suggested Reading: - TIP -

‡Mastering the Craft of Painting
Angelo John Grado
This is one of my favorites of the group. I deliberately
took this up to a higher level of finish. Ultimately, it
will be up to you how you want the finish to look. Just
remember to keep your values accurate, edges correct,
shapes nicely designed, and color harmonizing.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 3
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

As usual, the same general process

should be observed. The only major
difference that should be noted is the
fact that this image has a dual light
source, a sub-dominant from the left
and a dominant from the right. This
can be challenging but fun–do your
best.

START

As you start pushing and pulling your

shapes, keep a watchful eye. We have a
very complex back with lots of subtle
nuances. Stay focused on the shapes, try
not to overwhelm yourself.

MID-TONES

To bring this one up to a finish may take

a bit more than some of the previous
efforts due to the amount of musculature
evident. Just take your time and work
through it.

FINISH

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 4
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

With your underpainting fully dried, it’s

time to venture into the color. You may
want to lay off the clove oil for the un-
derpainting, or it may take quite awhile
to dry. Start adding your color. Where
you begin is up to you, just remember to
work around the piece bringing it all up
together.

START

Now that you are starting to get down to

the real work of logical coverage, take
inventory of how things are going. Are
your colors too saturated? too dull? Are
you caking on too much paint? Is the
overall feel to your liking? Many of my
students move way too quickly during
this phase, rushing to the finish.

MID-TONES

As you work your way up to the glorious

finish, try to continue developing your
flow. Every painting will have its high
points and low ones. This is what makes
it so engaging. If every good painting
was straightforward and easy, where
would the fun in that be? Learn to enjoy
the pick-and-shovel work if possible.

FINISH

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 5
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 6
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 7
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 8
 PA I N T I N G P R O G R A M
Figure Painting Phase II:
Male Back–Adding Color

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 9