Hi Steven -
I was just reading about this! Actually, it was more like paint/read/paint using Speed's book as my bible.
By Speed's book, I mean Harold Speed's "Oil Painting Techniques and Materials". Of course, I know you know this: I believe you have mentioned his book several times. But for those who don't know this excellent book, here is a quote:
"Do not forget that if you are painting a darker tone over a lighter, the tendency will be for the edge, where the paint is thin enough to show the undertone through it, to be warmer. And that when you are painting a lighter tone over a darker, the tendency will be the other way and for the edge to be colder. This is a very important thing to bear in mind, and governs the consideration of how your tones should overlap each other....Such things as the nostril, as it comes against the cheek usually have a warm edge and are best pairted dark over light. The edge where the hair comes against the face is another important edge that is often alternately warm and cold. It is usually cold at the side of the frontal bone, where the growth of the hair merges into the flesh and warm where a mass of hair overhangs; such as one sometimes gets on the brow. When the cold edge is wanted it can be got by painting the flesh tones over the general lay-in of the hair; and when a warm edge is wanted it can be got by painting the darker hair tone over the flesh."
I'd strongly recommend this book for any artist who works in oils.
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Hybrid Mode
