By Susanna Oroyan
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Additional resources for Anatomy of a Doll: The Fabric Sculptor's Handbook
We need precise brushstrokes – we’re not trying to be Van Gogh! – so the closer to the point we handle the brush, the better. Just think of it as a pen that we are going to ‘write’ with on the figure. How do I clean the brush? Taking good care of your brushes is a must if you want to keep them in good condition for a long time. The best way to do this is to clean them properly. Normally, all you need to do when using acrylics is put the brush in water and shake it a bit. But, if you see there is paint still stuck on the bristles, you can rest the brush on the side of the jar and gently twist it.
The concept is quite easy: paint from inside to outside, from darker to lighter. But what are the key techniques? Where do we apply the brushstrokes? Which colours should we use and how many highlights do we need to do? Let’s take Pyrrhus’ cloak as an example. First we paint the whole garment in Violet (960), darkened with a bit of Black (950). That will be our base colour (Figure 6). Once dry, we’ll mix the base colour with Blue Violet (811) and paint over the base colour on the raised areas, leaving the base colour showing only in the pleats (Figure 7).
For the first highlight we could mix Beige Brown (875) with Yellow Ochre (813) in equal parts, or skip this mix and use Raw Sienna (113) instead. Note that by painting this highlight we transform the red lines into squares (Figure 62). Now it’s time for the second highlight (Figure 63), using Yellow Ochre (813). Note that the epaulettes’ fringes, where the first highlight was painted with vertical brushstrokes, is now painted with horizontal ones to represent each individual braid. The sash is now highlighted with Red (947).
Anatomy of a Doll: The Fabric Sculptor's Handbook by Susanna Oroyan