ince I started painting figures a Íèw

years ago, many Íigures have been in

rny hands portraying very different
subjects,but this simple sceneis probably
one of the best I have ever had the chance
to paint. The reason why I like the figure
so much is the natural pose of Gepetto,
resting over his working table. The mag-
nificent detail in the facial sculpting com-
bined with the rest of the elements of the
composition makes this figure into some-
thing very pleaslnt and unique.
To colour the character, I searched for
i n s p i r a t i o n i n w o r k s o f t h e i i l u str a ti n g
genius Norman Rockwell, but first I did a
simple study to choose the proper illumi-
nation for the scene.In this caseI simulated
a light that would be placed in the top left
part of the figure projecting a much more
intenselight over the two main characters,
leaving the rest of the elementssomewhat
darker.

I. I used acrylic and oil paints, the later to gíve punctual

touchesas we wíll obsemelatter on. The mix to obtain the base
colour is critícally importdnt; I tried out dffirent combina-
tions in my colour palette be.foreI reached the one I liketl.

2. To begin the application of the first líghts, I made the

brushstrokes cover all the places where the light would reach
with more intensity, without taking into account the smull
wrinkles that could be in that area. To do this the mix must
be very diluted.

3. Once these general light zones were fínished, I started to

defíne the small wrinkles with a less diluted mix. In this
second pqft of the process of illumination, the folds that ure
reached by maximum light t'rill be more accentuated sínce she-
dows will not be applíed there.

zl. The shadow process begins, continuing the same method

used while applying the lights - going from a general area to
detail.

5. In this last step the intermediate tones are applieil, subtle

brushstrokes with a slightly diluted mix. This is where small
enhancements are made, such as the bags under the eyes or
the beard.

2005. 43
lVarch
 6. For the base colour mix of the apron I added a smdll omount o.f ochre yellow,
obtaining a colder tone for the face.

7 & 8. For the lights I followed the same scheme of projected light as in the
face.

9. During the shadowing process, I added small weathering effects with very
small brushstrokes.

10. Finally I used raw umber oil paint to simul(lte the stains and accentuate
certain shadows.

44 . FigureInternational
ll. The base colour of Pinocchio was applied with an airbrush, simulating a
pine coloured wootl.

12. I applied lights and shatlows wíth the brush over the wooden body and
painted the J'ace and hands witlt Jlesh colour.

13. Pínocchío's Jàce was paínted as if he were a child, accentucttíttgeven more

the di.fJèrence between his .face and his wooden body.

11. I finally painted the wood grain with ink.

wïl::'r-:lr'r I
Maich2005
 C A R LO LOR E N ZIN I
CarloLorenzini(Florence1826)stadedout as a journalist,
creatingtwo humorousbut short-livednewspapers.ln 1859,
he recusedhimselffrom the ltalianIndependence War and
wrotearticlespromotingthe unionof Toscanaand Piamonte,
all signedunderthe pseudonymof Collodi.
Beginningin 1875,he devotedhimselfto children'slitera-
ture.In 1880,FernandoMartín,directorof"ll Giornaleper
(B)
DA24
,"oo#ít, bambini"asked Collodito write a tale in severalchapters.
Skin 928 lllc DA24
tlf Resh(cl
BIle Azur
DA23
845 Mc
BestiaJ
BroM This was the beginningof what would be "La storiadi un
(B) 845 trlc
Shaclow Shadow
burattino"(historyof a puppet)that commencedon 7 July
9lB lvlc
Shirt 06 Ac
Greylc)
9lB Mc
GreYtc) 1881.
Its publicationwas interruptedfor severalmonthsand after
nr'rt'r. 3$i$:, the readersdemandedmore, the episodesreturnedin
Hair 325Mc, [4ancl]as February1882with a new name,"Le awenturedi Pinocho"

ffi
(Pinocchio'sAdventures) wherehisescapadescontinueduntil
Apron the seriesconcludedin I 883.Afterthe oublication of the last
chapter,the serieswas reeditedand publishedin a single
volumein FebruaryoÍ the same year.
Waistcoat
C = l ta d e C o o r ln 1890,the authordied as his work reachedits fifthedition.
N l i = M o d ei o o l
L C = L i ê C co r YetPinocchio,Gepeto,and the restof the charactersliveon.
Trousers

lBr 976 Mc
Hose 9lB Nlc 990 iVc

Woods

Pinocchio
snu{r,B]o,t"
'ïïïï:'' ffi
This roltttrr chart is rnerelvorit'ntutive

i
I
.!. 46 , FigureInternational
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