I put out a little call before my trip to Los Angeles to see if anyone would be interested in posing for me. Rivi Madison and I have wanted to work together for months now, so she graciously and enthusiastically offered to work with me. I got some good reference for future paintings. I did want to strike while the iron was hot, so I went ahead and started to paint on this one. The ulterior motive for getting started was also that the Scottsdale Fine Art Salon was coming up on the 26th, and it was the 24th when I started this one, so I had to work quickly. My reference manipulation is down to a science, so I whipped it up in about an hour. Compare that to when I first started and it would take a whole month to prepare a batch of photo reference.
For a few reasons, I decided to take a photo for Instagram after every hour of painting. One, for education. Two, to see how long it would take me to finish. Three, to be able to make an animated GIF with the end photos.
Beginning from the drawing.
I had an old 8x10" panel I prepared a long time ago, so it was perfect for what I wanted to do. I spent about an hour or two on the drawing.
Putting in the darkest darks in the entire painting, rather than exclusively the figure in the beginning as I usually do. I usually dont draw out most of the patterns in the beginning either but I thought I'd try to switch it up.
Also switching it up by starting to block in the entire background first before the figure.
Almost finished with the background.
Blocked in the pattern and started on working on the darkest parts of her that aren't in complete shadow.
Decided to paint her face by just working for darkest to lightest. Very methodically done with a focus on edges. Color is restrained to my limited palette with very subtle temperature changes.
Working on blocking in the rest of her skin(but at the same time trying to finish it as much as I can on the first pass).
Now that the canvas is completely covered and everything is well-defined, I am working on refining the patterns.
Much progress on the left-side patterns of the painting.
The bottom-left part of the painting is coming together.
The center-right part of the background is coming together.
Now the background is completely finished and I am starting to come in and finish the patterns over her body and her "tattoos."
"Ispahan" 10x8 oil on linen mounted on cradled panel.
Available as a print here: http://www.inprnt.com/gallery/the_main_loop/ispahan/
Here we are, finished! Just finishing the patterns, refining loose areas, and adding my signature.
I put these photos together and made a GIF:
For the technicals: I pretty much painted the entire painting with #1 flat Rosemary and Co. mongoose brush. With it being such a small painting, I was able to do a lot with it by using short choppy strokes that blended together just by sheer value control and brush handling. My paint palette was white, Sennelier Yellow Ochre Light, Cadmium Orange, Alizarin Crimson, Dioxazine Purple, Cobalt Violet, Transparent Earth Orange, a combo of Ultramarine and Manganese Blue, and a concoction I made that resembles Holbein's Violet Gray. As you can see, this palette really leans cool for obvious reasons. The Earth Orange, Ultramarine and Dioxazine Purple made quite the sufficient dark.
Let me know what you think about this painting. Do you enjoy the refinement?
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