Once the drawing feels OK I’ll start working with thin paint. The images below are about blocking in, I try to follow the geometry of my structure as I build up tone.
One of the things that I have found really interesting is how patterns that seem so complex in nature always somehow fit what the painting needs to keep the whole thing going. I do sometimes need to redraw the lines that are creating my geometry as I paint in.
Below is a photo of the painting flipped and drawn back into. I find that reading in the opposite direction helps me with balance. I can really see how the lower right (reverse of left) is a problem it took me a while to see it at the time….
I am working on planes, the rotation points and looking for details that will connect into the geometry .
The images below don’t keep a regular record, I like the light in my studio in the afternoon and sometimes it got too dark to take a photo before I quit for the day.
Below is about the last drawn-on photo for this painting. The painting is at that point where I have to fix anything that is problematic so I make notes on the image to remind me about problem areas and ideas I have about fixing the problem.
Took out that bottle on the right and adjusted some angles…
added some oak leaves…
and finally working on lower right I really didn’t like how the drapery was reading.
When nothing else is bothering me I stop, I guess the picture could hold more detail but I only want what seems necessary to the overall composition and I don’t mind the left-over construction lines.