As with "Aorangi" and "Heliotrope", these new paintings are moving toward a better sensitivity of the form of the model as well as the handling of the pattern. The more I do of these, the more I learn of shortcuts and streamlining of the process.
For the figures, rather than trying to paint the skin too thickly in the beginning, I will scrape down a lot of the transition areas between light and dark tones. The reason I do this is because I know I am going to paint a cleaner tone that will need to link the light and dark shapes together in a convincing way. In order to do this, I will need it to dry, and if the paint is too thick, the wet-on-dry paint won't blend nearly as well.
Invest in a good-quality sable if you're going to do a lot of precision detail work. Rosemary and Co. is famous for making those mongoose-hair brushes but they also make high-quality sables as well. For the thicker areas of the patterns I use a #3 flat mongoose brush, and for the thinner areas I use a #1 sable half-rigger brush.
Find Prints Here
Here is a map of where the Epperson Gallery can be found. It's not the easiest place to get to without a car, but it you have the means, it's about a half hour away from most north Bay Area locations.
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Drawings For Sale
Prints For Sale