Didn't have time after class yesturday to post but I think I'll till wait the day after anyways from here on out.
So, as I said the class is with Adrian Gottlieb learning his Verdaccio painting method. As I suspected before I started this class it goes against may natural impulses for how to construct a painting. BUT I took this class to expand my understanding of painting methods. My current method makes use of an ebauche then a full color painting using opaque hue value strings that are neutralized and thinned as needed. Adrian's method is to use a very specific underpainting for skin tones made up of a mixture of Chromium Oxide Green and Sinopia (his choices for these 2 colors are currently available from Blue Ridge). These two colors are then mixed into 2 "strings" (my names for these color rows not his). The 1st string is based on the coolest flesh midtone, so it ends up with more green. The 2nd string is a version of the 1st with more Sinopia. There is only enough of a difference to generate a cool and warm version of almost the same color. These two colors are then each mixed towards a high value with white and towards a low value with black creating the "strings" I was speaking of. You end up with 9 or so piles for of the two colors grading from lightest skin tone to darkest. So that's 2 SEPARATE rows of about 9 piles each. Anyone familiar with Munsel based closed palettes will find the layout idea familiar. This system is used only for skin tone on the first layer. From here we'll see where the class goes. My suspicion is that this layer accounts for the majority of the modelling in the final painting. It's my understanding there are following glazed layers that lay in color in a very systematic way. The final result being very luminous as the layers visually enter act with each other. One of the main differences that results compaired to a more familiar direct painting method is that Chroma is not the major focus. He seems to be aiming for more of a finely controlled value range and the resulting shimmer from the layer interaction. It's quite nice to look at and I wonder if it's possible to arrive at with a totally direct painting method... Here is what I was able to accomplish:
We learned the basics of his method and started color studies to work out compositions this Thursday. He gave us an overview for a while then we started mixing out our Ch.O.Gr. and Sinopia strings. This took me a while as I wanted to get the premix color and grading of the rows right. This only left me with about 2 1/2hrs to paint. Hopefully I'll be faster next class. Adrian is also a great guy so the class will be hard but pleasant.