{"id":703,"date":"2011-10-09T00:26:18","date_gmt":"2011-10-08T22:26:18","guid":{"rendered":"http:\/\/www.americanartistinrome.com\/plog\/?p=703"},"modified":"2013-10-07T01:03:38","modified_gmt":"2013-10-06T23:03:38","slug":"the-holy-grail-of-flesh-tones-part-ii-velazquez","status":"publish","type":"post","link":"https:\/\/www.americanartistinrome.com\/plog\/2011\/10\/09\/the-holy-grail-of-flesh-tones-part-ii-velazquez\/","title":{"rendered":"The Holy Grail of Flesh Tones, Part II: Velazquez"},"content":{"rendered":"

A funny thing happened the other day as I was googling through the web universe in search of greater enlightenment on flesh tones… I found a blog post entitled “The Holy Grail for Painting Flesh Tones.<\/a>” \u00a0I smiled, took the bait and after (re)reading the post found myself asking what kind of heartless bastard serves up such a promising title only to leave the starry-eyed believer in concrete craft alone in the foggy abyss of theory and performance avoidance?<\/em><\/p>\n

To which I realized the only answer was to make it up to my starry-eyed self and to anyone else out there searching for what can sometimes seem an impossible question to answer. \u00a0So here goes…<\/p>\n

I was able to print what I think were a couple of pretty good quality photos of the head of Philip IV by Velazquez, though I hope to learn better just how close<\/em> this next January (and more on that next February).<\/p>\n

Below are my notes on the process.<\/p>\n

\"\"<\/a>Notes on the copy of Philip IV (Old) by Velazquez<\/h2>\n

Sept. 3rd, 2011 – First Session<\/em><\/strong><\/p>\n

I started with the following palette:<\/p>\n

Michael Harding:<\/em><\/p>\n