Velatura Skin

The velatura layer is making a big difference to the painting, with most of the arms and legs coated in a simple pinkish layer of paint, supplemented by shadows felt out in a Graham Burnt Sienna. I’m happy to see the head of the Empress sitting well within the painting – having the flesh become more substantial has really helped to unify the change. I’ve dropped her hair across her face to lower the forehead that I felt was too high.

The faces of the three girls on the right have yet to be touched with the velatura – there ‘s quite a difference once that pink layer softens the features of the face. I’m looking forward to getting them all done.

Still concerned with the brightness of the colours, I’ll almost certainly glaze a white over the dresses to make them more pastel. I also want to revisit the design of the yellow dress.

I’m getting a sense of how the cherry blossoms will work in the background. I originally expected them to be similar to the acacia in my Traveler painting, but now I’m tending toward their being shorter and occupying the lower two thirds of the sky.

About pearce

Michael Pearce is an artist, writer, and professor of art. He is the author of "Art in the Age of Emergence."
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