A painting development
 

I was cleaning out my compute files and came across these shots I took a couple of years ago. I thought they might be of use to my fan out there (you know who you are.)

I always paint in natural studio light

By the end of the first session, (about two hours in this case) I

The paint was dry by the second session. I scraped on the canvas with my very old, very sharp, painting knife to smooth the surface. Then I began to lay in another layer of paint, this time both thinner and more refined. The thinner second coat is much easier to blend.

I began to really get serious about the likeness by the third session. I spent a long time refining the eyes, the mouth and the ear. It gets very boring to watch me paint at this stage

Here is a larger shot of the head. I was about ready to give it a rest while I went to work on the rest of the painting. Unfortunately, my model and her husband moved to Virginia about this time (fled I think.) The painting was never completed.

Here is a photo of my sitter. I took this shot to illustrate my light as part of an educational package I sent to somebody. I didn

You've given me the courage to come forward -- I am that fan. Let them say what they will, I've said it and I'm glad.

I wonder why it must come to this. Could you not, just before giving up for the day, smooth these ridges out with a fan brush to avoid the scraping step? Would there be some quality lost?

Since I'm all you've got I thought you might tolerate such a question.

What a facinating progression! It is a beautiful portrait, thanks for sharing it with the forum.
I am curious to know if you paint any portraits outdoors. I would love to see your approach and the way you handle light in that type of situation.

Mary

Mike,

One could certainly smooth out the paint at the end of the day. I've done that at times. I read that Bouguereau did that too.

However, I guess I just like to cut.

I'm also afraid of losing the freshness and dynamics -- the happy accidents -- if I fuss and blend too much at the end of a session.

Mary,

I haven't painted a portrait outside in years. It just isn't what moves me. I LOVE traditional studio light -- quiet moody light -- that allows me to get powerful values. Outdoor portraits just don't move me. If it does you, that is wonderful. Always follow your feelings. That is what leads to your art.


By the way, I will answer any and all questions anybody may wish to ask. I will check back every day or so and answer questions all at once and thereby try and keep the number of posts to a minimum

No Mike, I am the fan he is taking about. You and I will have to share or it could get ugly.

Bill, thanks for finding this gem, what great descriptive sessions on obtaining the construction and finishing stages. I just wished I could have been a fly on the wall watching from the beginning drawing.

Is it too rude of me to ask you what colours you used, if not in the beginning then at the final stages?????? Remember me Bill, I am the real No. 1 fan.