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

Figure Painting Phase II:

Male Front–Adding Color

OVERVIEW
In this lesson, you will learn how to execute a Burnt Umber painting with color being applied on top.
We will use the Zorn palette to add the top layer of color. If you have already done this in portrait,
then you are already getting familiar with this limited palette. If not, take a moment to watch over the
mixing portion of the Zorn palette. You will start to see some repetition as we move between phases.
This is no accident but necessary to really ingrain these methods. You simply cannot master these
concepts in one or two tries. This is not intended to string you along but keep reminding yourself,
the road to mastery is through one path–that of repetition. Try to learn to not only embrace this con-
cept but to love it. As you start to experience this in your own development, it will start to make sense
at a core level.

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 Front–Adding Color

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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 Front–Adding Color

ASSIGNMENT 1: MALE FRONT–ADDING COLOR

In this lesson, we will be exercising one of the most tested and tried approaches to oil painting. This
will be a nice one to have in your repertoire. The Burnt Umber will act as a safety net– that is, if you
do it well– for the color application, so pay particular attention to your underpainting.

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: As you get ready to lay over your color, try not to cover every aspect of your underpainting.
Many times you can let some of the shadows remain Burnt Umber. This is more feeling than an
exact science.

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 -

In working up your underpainting, be particularly care-
‡Mastering the Craft of Painting ful as you will now be matching your underpainting
Angelo John Grado with color as a top layer. We want to attempt to do as
little corrections on that top level as possible.

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 Front–Adding Color

Notice the elegance of this standing

pose, the distribution of weight, and
flow of the drapery sweeping from one
side to the other. Keep your eye on the
light and dark passages. As you map
your way through the drawing, mini-
mize the actual filling of your map. If
you want to use basic shading to show
your dark areas, that is fine. As with all
of these oil exercises, don’t forget to
use spray fixative.

START

As you’re picking out your piece, take

your time. I would suggest you spend at
least three hours. Make sure you have
all your needed supplies and materials
well organized.

STAIN

As you come up to the finish on your

pick-out, make sure you finish before it
sets up too much. Many of these tech-
niques are time-sensitive. For those
of you who are used to digital, take your
time as this will be a bit of a learning
curve.

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 Front–Adding Color

As you start your color application, look

at the photo to help judge the general
color/temperature feel of the skin tone.
With most Caucasian models, we will be
mixing a peach-like mixture. This will
be derived from some red, yellow, and
white primarily. Watch the video care-
fully for suggestions.

START

The mid-tone phase will be done by

adding small well-placed shapes, or tiles,
over the underpainting. Try to minimize
having to correct values that were left
incorrect during the pick-out phase.

MID-TONES

As you come up to a finish, stay focused.

Try not to race through these. If it took
me 6 hours, you may be looking at 8 - 10
if you count the 1 - 3 hours to draw it in.

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 Front–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 Front–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 Front–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 Front–Adding Color

Preserving the Traditions of the Masters

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