How do you paint chains?

[Richard Bingham]

Originally Posted by Enzie Shahmiri

- Totally uncalled for!

Hmm. I agree. Although there's no doubt I could profit from a re-read. I totally missed the Da Vinci quotes in that link.

Enzie, it seems you think I meant you should go back to class. That was not my intention. I meant that to refer to the author of the tutorial. Too flippant, in any case and certainly unclear in this written medium, so I apologize.

I've said before I have no intention of "dissing" anyone via online art fora, and that stands. The best way to accomplish that is simply not to post my opinions.

[Enzie Shahmiri]

No harm done Richard I misunderstood your intention.

When I tackle a new project, my aim is to learn how others have approached the same subject in various ways. This broadens my understanding on what to pay close attention to and at times brings awareness about what to avoid. This information might help others as well, to learn to see and judge for themselves what they find useful and applicable to their projects.

There is as much to be learned from bad examples as there is from good ones and Richard is totally correct to point out the highlight issue. Opinions are always welcome, they warrant consideration, because they make us aware that we might have overlooked something.

When I grow up, besides painting skin tones like Marvin M. , I like to paint like Jean L

[Enzie Shahmiri]

Photo #2

The way I approached the underpainting helped a great deal to make sense of the unjulating links of the chains inside the medallion and on the headdress. Now every link is connected to another and there is some order in the house. Note how I used the most obvious shapes in the reference and made sure that they repeat where they need to be in the painting. There are plenty of little ommissions, but since the major shapes are in place the piece looks correct.

When I layed in the paint, I aimed for value 9 my lightest Yellow Ochre (no white- that's reserved for the highlights only!) Then I placed in the darkest value 1 of Raw Umber. These two along with the values of the underpainting then allowed me to create the form and general layout of the chains and the medallion.

The areas facing the light source receive the lightest values and decrease in value becoming less intense and darker as they turn away. Watch out for those pieces that overlap others, casting shadows and making those areas darker.

While looking at the shapes and how they relate to each other ask: "What color is it? Is it cool or warm? Intense or dull? Repeat this at every new layer application and hopefully everything will fall into place.