I worked a little on the painting yesterday, and this is the image here. I left it to dry overnight and returned to it today.
I will work on it a little tomorrow and hopefully it will be done.
I should have waited until the paint had dried to take the photo as every brush stroke is laid bare (unintentional pun).
I have decided to trim the image and focus on the model and not include the barely discernible chair at the periphery of the scene in the original. I think this format works better in my view.
This is becoming a little like ‘spot the changes’ puzzle, but there is a slight difference between yesterday’s version and today’s, which is below. Observation I have found is the key.
I realised that I’d better do more blending while the paint was wet, on the outer leg especially. Then, of course I fiddled a little more and finally stopped before I’d done anything stupid. More blending is needed, on the arms especially. I shall tidy up the fabric next time, and add some highlights to the right hand. I aim to shape the left hand a little, although I can’t actually see it clearly in the photocopy. So much to observe.
Art class resumes Saturday afternoon, when we get to sketch a live model. Charcoal on paper, Yeah! Then, more oil painting on a larger surface. But meantime, I’m off to Dunedin to see the play Prima Facie daughter Lara has directed. Can’t wait!
ARTISTRY 
I always enjoy seeing the evolution of a painting…thank you:)
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Looking good!
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Thank you.
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I’m going to echo what was mentioned previously, ‘I enjoy seeing the evolution of a painting’ Actually, I prefer your version to the Master copy, Vivienne. It’s lighter by comparison, and I like the glow around the figure you have created.
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thanks Jason. I rather like the differences I’ve made too. X
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Amazing colours in the background and the body has a warmth to it with the light bouncing off the back and the knee which is pleasing. Well done!
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Thank you for those comments Louise. I like the warmth I created considering the dark print we were working from.
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Thanks for this, Vivienne. Your version has an inviting warmth that I prefer to the slightly darker (colder?) original. Maybe its colours have darkened over time? I am with you on the idea of cropping a picture. So often it is only towards the end that you realise a tighter composition looks better. That is why I paint on MDF and can cut the picture down to size if it suits (no doubt this makes me a philstine, but it works for me).
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Do you know that I was going to ask you what you painted on? Not a philistine at all. It is a good idea. It was common to use hardboard as a base (well it was for my father). Basically I think people just used what was handiest. And thank you for your comments.
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You are welcome, Vivienne. I use MDF: I cut it to shape and cover with two coats of acrylic gesso. It gives a nice, smooth surface and it is as cheap as chips – and I can make it whatever size I want. When proper primed boards cost so much, it is a relief to have a support that costs about 20 cents a picture.
Mayer’s Artists Handbook says it probably is not stable over the very long term, as it can tend to chip at the edges, but I expect my pictures will outlast me.
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I agree with your choice to crop the painting just a little. It becomes even more personal and so tender. Thank you for walking us through the process. I am not a painter and find these insights very helpful. Now off to the next class. Enjoy the exploration.
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