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Dominique Medici Free Online Painting Demo – 3 Hour

16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

DOMINIQUE MEDICI
FREE ONLINE
PORTRAIT PAINTING DEMONSTRATION
3 HOURS

ABOUT DOMINIQUE MEDICI

Dominique Medici is a NYC-based artist specializing in both Egg tempera and Oil painting. She studied in London and has exhibited internationally, including Art in Action, Royal Society of Portrait Painters, Christies Young Artist Exhibition and the Society of Portrait Painters. She was a semi finalist in 2006 Outwin Boochevor Portrait Completion and recently received an honorable mention in the 2014 Portrait Society of America members show and honorable mention for portraiture during Oil Painters of America’s 24th Annual National Juried Show. Dominique has undertaken numerous international portrait commissions and her work in displayed in many private collections throughout Europe and the US, including Hugh Jackman and Deborra-Lee Furness.

Dominique has a passion for teaching and has taught extensively both privately and publicly.

Dominique Medici
http://www.facebook.com/dominique.medici

MATERIALS

Drawing: (Winsor & Newton) Blue-Black.

Surface: Masonite Hardboard primed with Oil and a neutral grey/brown wash

Oils: Gamblin ; Winsor & Newton

Palette: Titanium White (Gamblin), Cadmium Yellow Light (Gamblin), Quinacridone Red (Gamblin), Cobalt Teal (Gamblin), Blue Black (Winsor & Newton)

Brushes: Hog Hair Flat or Filbert / Bristle Brush #4 (2) , #6 (2), #8 (1), & Kolinsky Sable #4 (1)

Medium: Chelsea Classical Studio Linseed Oil Pale

Brush Cleaner: Chelsea Classical Studio Lavender Brush Cleaner

00. Setting up the pose and lighting
00. Setting up the pose and lighting
01. Placement, looking at the overall basic shape
01. Placement, looking at the overall basic shape
02. Now considering position and scale
02. Now considering position and scale
03. Beginning ro work out basic proportions
03. Beginning to work out basic proportions
04. Without locking in to much drawing I want to get a basic play of light and shade
04. Without locking in too much drawing I want to get a basic play of light and shade
05. I start using color, looking for the basic underlying color/ halftone for the light and shadow planes respectively
05. I start using color, looking for the basic underlying color/ halftone for the light and shadow planes respectively
06. The “base colors” are used to model the form, to try to get sense of the volume without using details
06. The “base colors” are used to model the form, to try to get sense of the volume without using details
07. With the base colors established I am now trying to extend the value/color range
07. With the base colors established I am now trying to extend the value/color range
08. I am differentiating the warm and cool passages in the face, also using complementary colors to help create contrast.
08. I am differentiating the warm and cool passages in the face, also using complementary colors to help create contrast.
09. I am beginning to look at the features and working on modeling the forms.
09. I am beginning to look at the features and working on modeling the forms.
10. I am trying to lock onto her likeness and character at this point and gently manipulating the edges between forms to get the right look
10. I am trying to lock onto her likeness and character at this point and gently manipulating the edges between forms to get the right look
14. I am now focusing on the eyes, nose and lips and trying to get her expression with as little changes as possible.
11. I am now focusing on the eyes, nose and lips and trying to get her expression with as little changes as possible.
15. almost no painting is happening at this stage, just comparing and making subtle shifts to edges and adding small spots of local color
12. almost no painting is happening at this stage, just comparing and making subtle shifts to edges and adding small spots of local color
16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.
13. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

Take one of Dominique Medici’s classes
at Chelsea Classical Studio
or at dominiquemedici.com

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