Drawing Board Drawing Pads 18x24
Kneaded Eraser Various Clips and Painter's Tape Vine Charcoal
Charcoal/Carbon Pencils; with White Sanding Block Blending Stumps
PROPORTIONS OF THE HEAD
Draw the Loomis Head
ANATOMY OF THE SKULL: Understanding the structure.
WHY IS SYMMETRY IMPORTANT?
AVOID THESE 5 MISTAKES WHEN DRAWING FACES
SOME FREE ADVICE
SEEING THE MASSESS
THE LIMITED PALLETTE
IN CLASS DEMONSTRATIONS
LIMITED COLOR: Alla Prima Approach
UNDERPAINTING; Building the image through layers.
Taking the painting to an 80% completion stage. I've concentrated on the transition of values, color and temperature shifts and giving special attention to edges. It is better to leave edges softer at this stage of painting, as it is always easier to make an edge harder or sharper at a later stage than making it softer. This completes the second stage of the painting process. I allow this stage to completely dry before proceeding to the finishing stage of the painting.
I complete the painting by oiling in the completely dry painting and start repainting the image from dark to light with thin glazes of color and adding any opaque passages necessary, such as repainting the background to cover the thin blue, yet allowing interesting halos of thinness where I think interesting. I also made a compositional addition by extending the shoulder area.