I started by putting my sketch on my paper using tracing and transfer paper.
I wanted her skin to have a slight pinkish tone to it. I thought I'd just mix red and green for that, but I ended up having to mix some yellow in to. The red and green I was mixing ended up getting too purple. Anyway, I painted the skin and hair, which is a combination of yellow and purple, using wet on wet for the first layers.
Here I've added some darker tones to her hair. I was careful to place them in the right spots because that's what's eventually going to give her hair the texture I want it to have. I also used some of my flesh mixture, with just a little less water in it and made some shadows along her arms.
I mixed some burnt sienna into my color for her hair and painted some more shapes for texture.
I've taken a break from painting the woman herself, to work on the background here. I started with a wash of light yellow green and went over that with some shapes using the same color, but with less water in it.
Here I've added some darker shades to the background and painted the blue in the woman's eyes.
I decided I wanted her top to be an ivory color. I went about this by mixing some yellow into the color I'd mixed for her hair and, using wet on wet, I painted this all over her top, then dabbed it with a tissue so it would be as light as possible. I achieved the folds in the top with a combination of masking fluid to keep certain areas light, a medium shade over the entire top and a dark shade painted in thin lines under the lightest shade.
That's it for part one of this post. In part two, I'll be focusing on the bed itself and the flowers on it.
I've been watching some Authortube videos from a woman named Kate Cavanaugh and I hear her talk a lot about "first drafts". That's a reference to the way authors write a first, second, sometimes even third draft of a story before the come up with the one they end up publishing. In other words, they don't put pressure on themselves to get things right the first time.
Contrast that with artists, who tend to think that whatever color, whatever stroke we put down, that's it. We have to get things right the first time because there's no changing things. This is a mindset that can hold us back from actually creating.
When I'm feeling indecisive about a piece, I tell myself to just put something, anything, on the page. There's a saying that goes, "The best decision is the right decision. The second best decision is the wrong one. The worst decision is no decision at all". This quote is about life in general, but we can apply it to art. Making any piece is a series of decsions and honestly, not all of them will be right.
I thought about this a lot while I was doing my dog eye painting, the last one of which I'm working on now. Here's an excerpt from my post about painting the golden retriever eye.
It was at this point that I my attention was drawn to what looked like some big white patches in the dog's fur.
I didn't want to add patches of pure white, but the leaving the fur as it was didn't feel right either. I mixed
burnt umber with a little bit of titanium white to see how that would look, and I was very pleased with the results.
I would like to move even more quickly in the future when it comes to making decisions about what to do in my pieces, even when I'm feeling unsure.
and I was very pleased with the results. and I was very pleased with the results. and I was very pleased with the results. and I was very pleased with the results.
Painter of portraits and wildlife