Good class tonight. I decided to not be cautious and to see if I could apply what I am learning from Robert Liberace as well as the classes with Seth Heverkamp. Something worked because I was rather pleased with the result.I liked my painting!
I started off with the basics, accurately render the stance of the model by drawing very slight/quick reference lines. I try to capture the angles of shoulders and hips, figure out which leg is bearing the model’s weight and try to make sure all of my angles are fairly close to what I see.
Once my structure is in place, I work on my darks. This means that I paint the shapes of the darks using a large (in this case a #6 filbert) bristle brush and a slightly thinned mixture of odorless mineral spirits (gamsol) and burnt umber. This step is important. If the shadows are correct then the painting will come together. If the initial drawing and the shadows are wrong and I add the flesh/light tones then I will be spinning my wheels and will waste time trying to correct a flawed structure. Frustrating at the very least.
See I am learning.
Ok once the shadows and structure are good, I work them a little more. What I am trying to do is too not be too fussy but insure the angles are correct and that everything correctly relates to each other.
Once I was satisfied with the shadows, I added a light (in this case burnt sienna, warmed with a touch of cad orange). I continued to refine the darks and lights-you model what you can-then rinse and repeat.
I really felt like I was on a roll and I can see where the three lessons with Seth Heverkamp is helping. I guess hearing Seth talk about not being afraid of the paint (I usually paint too thin) and having enough on the painting so I can manipulate the paint is slowly sinking in.
I used titanium white, burnt sienna, a touch of ultramarine blue, cadmium orange, and some red (a dab) I ninja-ed from Kate, a fellow student.