That W.I.T.C.H.

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Woman In Total Control of Herself

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INSPIRATION

• John Waterhouse - Cleopatra (1888)

• Devon Cole - W.I.T.C.H. (2022)

MATERIALS

• Oil Paint:

  • Rublev: Flake White #1

  • Vasari: Raw Umber, Burnt Umber (only for toning), Ivory Black

• Mediums:

  • Winsor Newton cold pressed linseed oil

• Panel: Artefex 532 Allinpanel Oil Primed Linen Panel (18”x24”)

• Brushes: Utrecht Manglon Synthetics and Raphaël Kaërell Synthetic Sables

• Varnish: Conservar Regalrez 1094 Varnish Kit

PROCESS

• Useful Premixes:

  • Neutral (Ivory Black and Raw Umber mix)

Process GIF

CONCLUSIONARY NOTES

General

• Must remember that adding more contour delineations along the shadow lines within the early stage cartoon pre-transfer will be very informative for later stage smaller form and muscle placement.

• Dead coloring delineation of light and dark masses will be more useful if light is fully blocked in with white (do not worry about values 2-5 in this stage) and will also help bolster the next layers of white.

• When first painting, create a “1” premix that is contaminated with an imperceptible amount of the next darker value that will create subtle changes in form within the lights. This will also help with the “1-3” value range when rendering form.

• Always keep fall of light in mind when painting figure and keep in mind soft and hard edges to draw viewer’s attention where intended.

• It is possible to preserve effects you light from a prior layer (example: where hair meets background - wet on wet smoothing with a single brushstroke) if planned appropriately.

• Backgrounds work well if not done too intentionally.

• Keep early layers soft and uncommitted in order to keep the area open for drawing adjustments until the final layer.