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Prof. Clochard after the first two layers of
paint. His head is made from a latex mould
taken from a human head sized clay
sculpture. Very soft clay was used (almost
the same texture as mousse) to retain the
lightness of the eyebrows and haggard
texture of the skin.
After the base coat (in this case charcoal
grey) has dried and cured for 24 hours or
more, I like to create one dark shade with
which to begin painting the skin texture.
For each successive layer, I changed the
tone of the colour I already had.
This is a pretty dangerous (and perhaps
juvenile technique) because if you stuff up
- you have to try and recreate a colour that
evolved over time. Also, it means you have
to work damn fast because paint (acrylic)
mixed with latex dries quickly!
But this works for me. I like to paint less
and less deeply each time I adjust the
colour to give added texture to the face,
and I like the tonal qualities of the paints to
blend and include all the same base colours
so they look harmonious under theatre
light. That said - the Clochard is for street
theatre!
I almost never use white and black paint,
but for the grey in the Prof's hair (on the
back and sides of his skull), eyebrows and
beard I mixed some white before applying
the final highlights in orange and yellow.
paint. His head is made from a latex mould
taken from a human head sized clay
sculpture. Very soft clay was used (almost
the same texture as mousse) to retain the
lightness of the eyebrows and haggard
texture of the skin.
After the base coat (in this case charcoal
grey) has dried and cured for 24 hours or
more, I like to create one dark shade with
which to begin painting the skin texture.
For each successive layer, I changed the
tone of the colour I already had.
This is a pretty dangerous (and perhaps
juvenile technique) because if you stuff up
- you have to try and recreate a colour that
evolved over time. Also, it means you have
to work damn fast because paint (acrylic)
mixed with latex dries quickly!
But this works for me. I like to paint less
and less deeply each time I adjust the
colour to give added texture to the face,
and I like the tonal qualities of the paints to
blend and include all the same base colours
so they look harmonious under theatre
light. That said - the Clochard is for street
theatre!
I almost never use white and black paint,
but for the grey in the Prof's hair (on the
back and sides of his skull), eyebrows and
beard I mixed some white before applying
the final highlights in orange and yellow.
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Latex Painting
PROF. CLOCHARD