Figure Painting #1

This is the first Figure Painting I did for my class at the

Gateway Academy of Classical Art.  I started with a drawing 

(which I realized had his head too small, so I fixed that,) 

then transferred it to the canvas. For this painting I was only 

allowed to use bone black, raw umber and white, the goal 

being to learn how to use warm and cool tones.  It is not an 

easy task to see the different tones in the skin, but I am sure 

I will get there.  Every piece is a step in the right direction.

My drawing, probably used 4 of the 16 sessions we had with this model.

The finished piece after 12 of the  -3 hour sessions we had left.

Figure Painting #3

I have been studying figure drawing and painting at the Gateway Academy of Classical Art in St. Louis, since last May.  It has been enlightening to learn to draw from life instead of from photographs.  My eye has learned to see angles and curves, distances and subtle shading, that I hadn't seen before.  This is my 3rd figure painting and I am sure it wouldn't have been finished to the degree it is if it hadn't been for Covid 19 forcing us to stay home.  I have had much more time to work than I would during the 3 hours sessions twice a week that we were doing at school.  However, I would never had learned what I have with out having the opportunity to do these classes.

Sketch of the figure using paint (raw umber) instead of a pencil and then fill in the
shadow shapes.  What a challenge, but fortunately the OMS can erase the paint
off the canvas so it doesn't become a total mess with all the changes that
are required in the initial drawing phase.

Second step is to fill in the color blocks, the medium tone.

Then fill in the lightest lights.  It is important to fill in a background so
 that the shadows and the lights are calibrated to each other.

Continuing to add form in the lights and shadows.

Add the background and try to figure out what kind of background he should have.

Beginning to refine the portrait and sculpting the muscle shapes. Build up the
paint layers in the lights and keep the shadows thin.

Nudge the shadows to inform the viewer of what the muscles
and bones are doing under the skin.  

Thinking also of warm and cool tones, and the curve from the shadows
 into the light and back again. All the transitions from shadow to light need
 to be softened so the eye doesn't catch anywhere.  Also soften the edges
 and make sure the muscles roll around the form and do not end abruptly.

Finished.