Session #003, Work #003




The painting setup

Third painting. This one didn’t go as well as the second. I started this painting right after my workout and my arms were shaking just holding the brush up to paint, this may be one reason for the bad drawing. This was odd, the painting felt like it was falling apart several times. At one point I went trough the painting and began blending things together in hopes that I would block in the lighter areas again but that didn’t work at all. Values were off and I couldn’t hit those high whites and the drawing was off. I really hated the blending I did but I kinda wanted to portray the smoothness of the figure some how.

One thing that I began doing on the last painting was mixing my paints with Liquin to make them more buttery and easier to move around with a lighter brush. Basically I turned the crappy Winton paints that I use into the same consistency that better paints have. This works great with my super light Richard Schmid Langnickle brushes. With this painting at one point I pulled out a flat bristle and started to block things in real quick and I think that is what killed the painting. It wasn’t the stiffness of the brush that hurt it, it was the lack of care for the drawing that did it. I need to go back to the Richard Schmid way and focus hard on each brush stroke, get it right the first time!


My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color



I outlined the painting then overlaid that outline onto the still life.
I outlined the painting then overlaid that outline onto the still life.

How can I improve the drawing

Drawing was way off. I had tons of trouble measuring due to my arms shaking. That really showed in the end result. I’m sure the next painting tomorrow will be better.

Next painting I will take even longer to get the drawing correct.



I removed all color and pulled pieces of each image to the center to compare.

How can I improve the values?

Values were off for most of this painting. I can get the darkest dark no problem. I can get the whitest white no problem (except for the paint not being able to achieve true white). The issues where the values that were directly touching these extremes. The subtle shadows and subtle lights are a big issue. Look at the right side of the figure next to the shadow it casts on the board behind it, the turn of that shape has a shadow that should be much darker. Same with the top of the leg on the left. The dark pedestal value is right on though. The board in the background needed to be much darker.



Again I didn’t focus much on edges this painting, I will focus more once I don’t break everything by getting drawing incorrect.



I kept the composition simple and didn’t focus on it at all. The only thing I wanted to do was keep the entire figure in the painting.



Not much of a focus on color here. I just recognized which areas were warm and which were cool and tried to keep them somewhat true.