Painting Alla Prima Portraits from Photographs
Painting alla prima demands a clear strategy. Establishing the facial structure is paramount. You need to look past the features to the constructive elements of form. As if you were sculpting in clay. This is painting with a tactile sensibility.
Painting and photography are two distinct visual languages. In this alla prima workshop learn how to interpret the photograph to render an engaging painting.
BEFORE YOU BEGIN!
Download the syllabus & supply list: https://www.artacademy.com/tv/5000.pdf
Download the reference image: https://www.artacademy.com/tv/5000.png
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ALLA PRIMA : Syllabus & Supply List
348 KB
Download the Syllabus & Supply list.
You can also download from: https://www.artacademy.com/tv/5000.pdf
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Alla Prima Portraits from Photographs Reference Image
2.09 MB
Print out at full size in B/W at 11x14". Best practice is on photograph paper at full resolution.
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ALLA-PRIMA-Part-1
Before you begin download the syllabus & supply list: artacademy.com/tv/alla-prima1.pdf Therein is also the link to the reference image.
In Part 1 we strike the arabesque and proceed to blocking-in the structural elements of the head.
Part 1 of 9. 4K
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ALLA-PRIMA-Part-2
The structural elements are refined and the half-tones served up in the abstract. Part 2 of 9. 4K
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ALLA-PRIMA-Part-3
The plastic architecture of the head is constructed with a limited palette. Part 3 of 9. 4K
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ALLA-PRIMA-Part-4
Corrective measures. Part 4 of 9. 4K
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ALLA-PRIMA-Part-5
For the second pass your palette is expanded and a range of flesh tone are mixed. Part 5 of 9. 4K
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ALLA-PRIMA-Part-6
The facial forms are extrapolated with an anatomical concordance. Part 6 of 9. 4K
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ALLA-PRIMA-Part-7
The facial forms are extrapolated with an anatomical concordance. Part 7 of 9. 4K
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ALLA-PRIMA-Part-8
The facial forms are extrapolated with an anatomical concordance. Part 8 of 9. 4K
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ALLA-PRIMA-Part-9-4k
Final articulations and going for the full stretch of light/dark : warm/cool. Part 9 of 9. 4K
