I’ve been working with overlaying cool colors and warm back and forth to arrive at the proper balance of value form and color. This is new for me but not new for me as well. In landscape painting, I often mixed colors and painted impasto one shot brushwork because well in plein air work your time is very limited to get the essence of your subject and to record what you are seeing. The studio work gives you the option of experimenting with how you blend and how you use color to create the forms and values of your painting. You can play with it a bit more. Layer upon layer. so in this piece I experimented quite a bit with layering and grading the color gradually one over the other until there was a gradation of tone but also a blending between areas and still popping color. This was more important in the skin tones than anywhere else because the dress was so high key with spots of pure cadmium red and orange as well as a dramatic pick up of colors throughout the painting in the sky.
Year’s ago I wrote a book on mixing colors using warm blues and cool blues opposite one another. Warm reds vs cool reds and purer yellows vs grayer yellows. I also used translucent colors vs opaque colors within a primary. So using the mixing of colors with the translucent layers over the opaque and the cooler mixes of secondaries vs the warmer mixes I was able to import my use of plein air colors onto the portrait. Now to travel fully down the arms and hands in like manner and finish the dress furls.