Caravaggio Reproduction: Blocking Episode 2

In the second episode of our Caravaggio Reproduction series, we will continue our work on the flesh tones. To create these tones, we will use a combination of burnt umber, titanium white, and a small amount of red. It is important to not use too much paint during the initial blocking process as this will form the base for the upcoming glazing steps. The reason we use a layered approach is to emphasize the importance of lights and darks in the reproduction. By gradually building up the layers of paint, we create a sense of depth and dimensionality that is essential to capturing the essence of Caravaggio's work. As we work on the flesh tones, we will pay close attention to the subtle variations in color and value that give the painting its lifelike quality.



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