With the second session on this new figure painting I’ve spent a total of three hours just making sure I get the drawing exact. I know that this will pay off for the rest of the painting.
On the next session, the real fun begins, but I need to have a plan on how to start painting. Previously I started by establishing the shadow areas and eventually working into the lighter areas. I like the method that is taught at Studio Incamminati, a school started by Nelson Shanks. I outlined the process in this previous post. The basics of this process are starting with a thin wash of burnt umber in the shadows, then a general flesh tone over all of the light areas. This is the process that I will attempt but, instead of just a general flesh tone in the light areas, I’m going to push them a bit in value to more closely resemble the body parts. For instance, the head, wrists, and hands of this figure have more red than his torso.