I forgot to bring the camera in this past weekend, so I apologise that this is a late post.
I know I said that these were Week 6 pictures, but this one is actually from today, the first day of Week 7. You may remember the block people from the earlier part of the semester. Well, they have started to evolve. This is a drawing from the live model. We started with a block structure, similar to the earlier drawings, but now many of the underlying structures are further developed. It is really interesting to see how little you know about what is going on underneath the lumps and bumps of the surface until you learn something of anatomy.
I felt like I was having an off-day in the figure drawing class last week. Even still, I got a couple of drawings that weren’t too bad. It was nice to have a sitting pose after so many standing ones.
These next two are paintings that are in progress. The top image is half of a 24×36 canvas sectioned off into four quadrants. We are going to be painting each with a different tactic. The first one is a straight monochrome painting. Here it is done using Indian Red and Lead White. (Yes, it is real Lead White, and no, it’s only dangerous if you eat it. 🙂 All the same I do use barrier cream when using it. For the serious painter, there is no substitue. Titanium White is too overpowering and Zinc white is too weak and chalky.) The overall pink-ness of the painting sort of bothers me, so I’ll probably glaze a light green over it all to knock it down towards a bronzy-brown color.
Perhaps you’ll remember the preparatory drawing I did for this painting last week. I toned the canvas with a mixture of Burnt Umber and Ultramarine Blue. My ground was a little too dark—I should have put it on thinner. Then I mixed a combination of Alizarine Crimson and Sap Green to make a similar bronzy-brown tone to use for the wipe-out. After completing the wipe-out we mixed up a palette of 15 tones all mixed from Indian Red, Ivory Black and Lead White. This gives a range of pinks and lavendars. These tones are applied thinly over the wipe-out while it is still wet. The process involves finding the highlights and putting the correctly-light color onto the canvas in the correct shape. You then move to a slightly darker and slightly less chromatic tone and put that next to the highlight, repeating down to the shadows. The important part is that the paint is less chromatic as you move away from the highlights. This is what causes the forms to turn in space. I didn’t get past the torso during this session. I’m looking forward to finishing the body next week.
Martha said that we could paint the background with the dead-layer colors (Indian Red, Ivory Black, Yellow Ochre and Lead White). Once this layer is completed, we are going to have two layers of glazes that will go over the top. The first will be some sort of a green and I’m not sure what will be after that. Martha says that the flesh will glow when we’re done. Can’t wait.