. Jalbum 8.6 Eric Wallis paints the figure in a step-by-step demonstration with an explanation of each step. slides/DSCF7756.html# Thu, 11 Mar 2010 20:30:08 -0700 I decided on a warm background wash using black and red oxide thinned with mineral spirits. Then I let it flash, which means that the mineral spirits evaporate leaving the paint film slightly dryer than it was when I put it on. This makes the paint receptive to the next layers. I decided on a warm background wash using black and red oxide thinned with mineral spirits. Then I let it flash, which means that the mineral spirits evaporate leaving the paint film slightly dryer than it was when I put it on. This makes the paint receptive to the next layers. slides/DSCF7756.jpg slides/DSCF7757.html# Thu, 11 Mar 2010 20:30:08 -0700 I want to make sure that I get the width and height of the model correct and completely on the canvas so I drew a triangle that corresponds to the model. The straight verticle side runs through the center-line of her torso. The top point corresponds to the top of her head. The 2 bottom points are each of her toenails. Fitting the model to that triangle will make sure she fits on the canvas. The width between the toenails is double the lenght of the longest side of the triangle which I found by measuring the model. Its a lucky coincedence which I'll use to my advantage. I want to make sure that I get the width and height of the model correct and completely on the canvas so I drew a triangle that corresponds to the model. The straight verticle side runs through the center-line of her torso. The top point corresponds to the top of her head. The 2 bottom points are each of her toenails. Fitting the model to that triangle will make sure she fits on the canvas. The width between the toenails is double the lenght of the longest side of the triangle which I found by measuring the model. Its a lucky coincedence which I'll use to my advantage. slides/DSCF7757.jpg slides/DSCF7758.html# Thu, 11 Mar 2010 20:30:08 -0700 This step is a rough line drawing of the figure using cobalt blue light. I drew it heavier than usual so it would show in the photo. I don't always work with a line drawing but chose to on this painting. This step is a rough line drawing of the figure using cobalt blue light. I drew it heavier than usual so it would show in the photo. I don't always work with a line drawing but chose to on this painting. slides/DSCF7758.jpg slides/DSCF7759.html# Thu, 11 Mar 2010 20:30:08 -0700 I scrubbed in the background using white + cobalt blue lt. + cobalt turquoise + black in various quantities. As it moves to the corner of the room I added transparent brown oxide to warm the mixture and mor black to darken the value. I scrubbed in the background using white + cobalt blue lt. + cobalt turquoise + black in various quantities. As it moves to the corner of the room I added transparent brown oxide to warm the mixture and mor black to darken the value. slides/DSCF7759.jpg slides/DSCF7760.html# Thu, 11 Mar 2010 20:30:08 -0700 I established the darkest shapes in the painting which are in the hair using black + transparent red oxide + alizarin crimson. The lightest shapes in the painting are on the seat where I used white with a touch of magenta. All the other values will be between these two. Now I have something to compare with. Note, I smoothed the brush strokes in the darks with my pallet knife so the light wouldn't reflect on them and visually lighten the value. I established the darkest shapes in the painting which are in the hair using black + transparent red oxide + alizarin crimson. The lightest shapes in the painting are on the seat where I used white with a touch of magenta. All the other values will be between these two. Now I have something to compare with. Note, I smoothed the brush strokes in the darks with my pallet knife so the light wouldn't reflect on them and visually lighten the value. slides/DSCF7760.jpg slides/DSCF7761.html# Thu, 11 Mar 2010 20:30:08 -0700 I'm still working in the shadows but one step lighter in value. The mixture is primarily cobalt blue light + black. The shadows in the curtain and plant are mostly triangular shapes. In the plan shadows I added viridian and trans. red oxide to warm the shadow. The hair mixture here was trans. brown oxide and a touch of cadmium green pale. I'm still working in the shadows but one step lighter in value. The mixture is primarily cobalt blue light + black. The shadows in the curtain and plant are mostly triangular shapes. In the plan shadows I added viridian and trans. red oxide to warm the shadow. The hair mixture here was trans. brown oxide and a touch of cadmium green pale. slides/DSCF7761.jpg slides/DSCF7762.html# Thu, 11 Mar 2010 20:30:08 -0700 I'm sticking to my value progression from dark to light. The next value set starts in the shadows in the figure. I used trans. red oxide + caput mortem in the fore-arm which appears to be the darkest shadow on her. I added english red light to that with a touch of cad. green pale and some cobalt turquois for the shoulder area. The thigh is this mixture without the cobalt turquois. The shadow of the seat is cobalt turquois + english red light. Note the drawing corrections in the fore-arm. I had the hand to far from the hip causing the arm angle to be off. I'm sticking to my value progression from dark to light. The next value set starts in the shadows in the figure. I used trans. red oxide + caput mortem in the fore-arm which appears to be the darkest shadow on her. I added english red light to that with a touch of cad. green pale and some cobalt turquois for the shoulder area. The thigh is this mixture without the cobalt turquois. The shadow of the seat is cobalt turquois + english red light. Note the drawing corrections in the fore-arm. I had the hand to far from the hip causing the arm angle to be off. slides/DSCF7762.jpg slides/DSCF7763.html# Thu, 11 Mar 2010 20:30:08 -0700 I have painted most of the shadow values. I used cobalt turquois + cad. green pale + english red light + white to get the values and tones. The values were easy to judge since the darker darks were correct. I used my pallet knife to blend the edges of each value shape into the one next to it. I started the light values with the fabric on the seat coming down one value step from the lightest. I have painted most of the shadow values. I used cobalt turquois + cad. green pale + english red light + white to get the values and tones. The values were easy to judge since the darker darks were correct. I used my pallet knife to blend the edges of each value shape into the one next to it. I started the light values with the fabric on the seat coming down one value step from the lightest. slides/DSCF7763.jpg slides/DSCF7764.html# Thu, 11 Mar 2010 20:30:08 -0700 Now I move to the light values in the figure. I used cad. orange + white + yellow ochre in the mid-light value. I added a touch of alizarin and more white to get the highlights. I've left the edges of the shapes unblended here so you can see them better. I'll blend them and make them flow better in the final stages. I noticed drawing flaws in the lower legs. The right leg (model's right, viewer's left) was corrected and now I'll move to the left leg. Now I move to the light values in the figure. I used cad. orange + white + yellow ochre in the mid-light value. I added a touch of alizarin and more white to get the highlights. I've left the edges of the shapes unblended here so you can see them better. I'll blend them and make them flow better in the final stages. I noticed drawing flaws in the lower legs. The right leg (model's right, viewer's left) was corrected and now I'll move to the left leg. slides/DSCF7764.jpg slides/DSCF7765.html# Thu, 11 Mar 2010 20:30:08 -0700 I worked the shapes to blend them into each other. I put more paint on where it was needed, always careful to maintain my value relationships. I'll come back and look at it tomorrow with a fresh eye to see what else I need to do. I worked the shapes to blend them into each other. I put more paint on where it was needed, always careful to maintain my value relationships. I'll come back and look at it tomorrow with a fresh eye to see what else I need to do. slides/DSCF7765.jpg slides/DSCF7766.html# Thu, 11 Mar 2010 20:30:08 -0700 Now I'll go home and sleep on it. Now I'll go home and sleep on it. slides/DSCF7766.jpg slides/DSCF7767.html# Thu, 11 Mar 2010 20:30:08 -0700 I'm back the next day and I immediately see that I need to work on the feet, face and the hand. Just a bit more detail in each. And I need to measure the face and get her proportions correct. Starting with the face, this photo is before the work begins. I'm back the next day and I immediately see that I need to work on the feet, face and the hand. Just a bit more detail in each. And I need to measure the face and get her proportions correct. Starting with the face, this photo is before the work begins. slides/DSCF7767.jpg slides/DSCF7768.html# Thu, 11 Mar 2010 20:30:08 -0700 The face after the face lift. The face after the face lift. slides/DSCF7768.jpg slides/DSCF7769.html# Thu, 11 Mar 2010 20:30:08 -0700 Hands and feet before. Hands and feet before. slides/DSCF7769.jpg slides/DSCF7770.html# Thu, 11 Mar 2010 20:30:08 -0700 Hands and feet after. I actually did a little more than just the hands and feet. I worked on the arm, legs and stomach also. Hands and feet after. I actually did a little more than just the hands and feet. I worked on the arm, legs and stomach also. slides/DSCF7770.jpg slides/DSCF7771.html# Thu, 11 Mar 2010 20:30:08 -0700 I dry-brushed black + cobalt turquois + trans. oxide brown to blend edges and darken the back wall and curtain. I darkened the foilage a bit to push it all back in space bringing the model forward. I cleaned up a few edges in the stomach and knees. Compare it with the photo from the end of day one. I dry-brushed black + cobalt turquois + trans. oxide brown to blend edges and darken the back wall and curtain. I darkened the foilage a bit to push it all back in space bringing the model forward. I cleaned up a few edges in the stomach and knees. Compare it with the photo from the end of day one. slides/DSCF7771.jpg