How to Paint Fabric
Well looking at the cloth closer, you can get a real sense of what we’re gonna be challenged by. And as I’ve mentioned during the course of past demonstrations, it’s always good to think of a subject in terms of value. So you understand that value is present within cloth, I mean fact of the matter is value, we have to deal with value in it, pretty much anything we paint. Just in a few key areas, I’m gonna drag across right on top of the tint of yellow oakers and lighter areas of white. I wanna cover up everything I have there. It’s pretty much the highest points. I’m gonna hit with some white. In this little segment of how to go about painting in fabric, different types of fabric, I got this painting on my easel, I’ve started it, involves two peaches, a little silver bowl, with an old book. And I’ve got this beautiful blue fabric sort of coming across the composition and I’ve intentionally left the undertone without color on top. So I painted all of the forms except for the fabric itself. So, I’m gonna show you how I actually developed the blue fabric within this painting. So we’re looking at my 8 by 10 inch canvass up on the easel, and you can see by the look of things that I’ve left all of this area intentionally bare. Just to end this little segment, see how the areas mostly neutralized down here so the foundation of painting fabric is coming back on top of that form with more of a chromatic spot of paint. So this is blue, ultramarine blue, with more of a white. Long as this is more intense, and then you get it to merge in like this, so it goes on… so we can take it with a lot of linseed oil and just draw out. So now I can actually go in with my paper towel, sort of crumbled up around my finger and draw in some of the major… major areas in the fab… I’ve begin with… by mixing up a small amount of a carmine, which is a lighter version of alizarin crimson, it’s very transparent. Using quite a bit of linseed oil, and I’m gonna go, you’ll see me paint in a very simplified manner using a number 8 bristle brush. So scumbling right in on top, thinking in terms of large shapes. One more thing, there’s little spot of light here, what happens is you have the light hitting the top of the fabric, creates a cast shadow, then, this actually finishes the story. This little bit of light.