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Adjusting Darkness In A Portrait(Acrylics)

12/27/2018

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So...I have a real mess here. I need to fix it and in this article, I'm going to walk you through the steps I'm taking to do that. First, though, some context. This is a portrait of my cousin Katie with her daughter Adelaya. It's being done in acrylics.

The first thing I'm going to need to do is cancel out this yellow.
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To do counteract this, I glazed purple over the top.
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To solve the problem of the blue being in too many places, first I glazed over the excess with orange. Orange is the compliment of blue, so it'll cancel it out somewhat.
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Next on my agenda will be going over the orange bits with zinc white until they look sufficiently light to me.
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Then I layered more of my flesh color over the whole thing to blend it in to the rest of the face more.
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Finally, in an effort to get rid of the line of demarcation between the darkness and the rest of her skin, I layered some red over the edges, so it would look more like what was next to it.
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I've tried everything I can think of to fix the problem at this point by layering. To recap, I layered orange over the excess blue to neutralize it. Then I layered zinc white over those parts to lighten them. I glazed more of my flesh color over the whole thing to try to blend the blue into the rest of the face and then I glazed red over the outer part of the blue. I've decided to start over from the underpainting at this point.
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Now that I'm starting on my color again, I've started with my dark blue gray ​first.
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Then, I started layering the main flesh color on top of that. At this point, I'm already four or five layers in.
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I decided to glaze some orange over the blue, in an attempt to tone it down, so it doesn't stand out so much.
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After looking at the photo for a while, I saw some noticable pink in the blue-grey shadows on Katie's forehead and left cheek.
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Obviously this is just a bit too rosy, though. So I glazed green over it, which is the complement of red and pink, to create the look you see here.
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I'd been realizing for a while that I had the blue shadows spread a bit too far. To rectify this, I mixed a bit of transparent raw sienna from the Liquitex heavy body line into some zinc white and layered that on the areas where I'd taken the blue-grey shadows too far.
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Now about that orange spot in the middle of her forehead. I went over it with blue and it took the orange right out of it. I also used some flesh color that was slightly darker than what I had originally where the shdow merts the main color on her forehead.
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    Sara Millett

    Painter of portraits and wildlife

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