Adrian Gottlieb's Class Days 3 & 4

Our 3rd day in class was pretty straight forward with regards to anything new. I got my color study to a place that I'm pretty happy with. I added the details to our models kimono and made over all value adjustments. The robe had some shadow problems (It was about 1 1/2 value steps too bright) that I brought into line. Adrian mentioned this right after I had mixed up my color to make the adjustment so that was reassuring to know I had the right idea. I also played with the back ground to even out the composition. Adrian rightly pointed out that it was too centralized with in the triangle created by the sleeves and her flower. The lines are good to lead you too her eyes but there was was no entry point into the over all composition. I made some adjustments to the chroma and value of the curtain in the background. It's hard to get a feel for it in the photo but there is now a diagonal of brighter curtain running from the upper left-hand corner to the lower right-hand. You will also notice I added a neutral edge color wash around the study. This was to help reduce the distraction of the bright white edges while I made final value adjustments.

I was pretty excited going into day 4 of class. Adrian took us through his glazing process. Glazing is one of the vaguest areas of oil painting for me. I've had no real training in glazes and only a "book" understanding of how it can be accomplished. There have been several times in recent paintings where, despite my lack of working experience with them, I KNEW these were scenarios where a glaze would be the way to go. So I was pretty excited about this class day in particular.

First thing that morning Adrian walked us through how he prepares his glazing medium and also several other painting mediums. The main painting medium he uses, and through shear dumb coincidence is also one I've been using. It's available commercially, in a very high quality version, from Natural Pigments called "Balsam Essential Oil Medium". Adrian makes a glazing medium that he's developed himself specifically for the painting method he's teaching us. His glaze actually dries completely by the next day allowing you to add any direct painting you might feel will benefit the final painting. So... in all farness to Adrian... if you want to know how to make his medium you'll have to take the class... Next he walked us through how he actually uses his glaze. It's not as straight forward as I had expected. For our models skin tone we're glazing Indian Yellow and Rose Madder. Once we settled on the color combo to use we applied the glaze to the color studies we've done. It took all of 30 seconds to apply the glaze. It was also necessary to thin the mixture down to arrive at the proper transparency for correct chroma. Too raw and our paintings would have looked like a nuclear girl. Too thin and it would have been a mess. He also let us use his prepared glaze in class since we didn't have anything made up on our own yet. We'll be making our own glazing medium for our final paintings. Here is the day 3  color study side by side with the day 4 glazed final color study:

3rd Pass, Oil Color Study

3rd Pass, Oil Color Study

4th Pass, Oil Color Study with Glazing applied

4th Pass, Oil Color Study with Glazing applied

If you compare how the skin tones relate to the flower you can really see (as best as is possible on a computer using photos) how different she looks glazed and unglazed.

After the Adrian gave us the glazing run down and we had glazed our studies we started on our drawings. These are done to the size of the finished painting as we will then transfer this to the final toned surface of our paintings. I've never been a big user of drawings up to this point for paintings but I can see the appeal. You really get to work out the proportions before you touch the painting. Adrian has us using charcoal. I've always been a graphite person but why not. Here is my drawing as far as I was able to take it in class:

Charcoal on Strathmore 400 paper

Charcoal on Strathmore 400 paper

Adrian voiced some concerns that her near hand is too small. I'll need to check that in class next week. I did take both this and the study into photo editing software and overlayed the drawing over the study. I played with the transparency of the drawing so I could check the proportions of both against each other. The hands are the same size in both so it tough for me to say till I do some measurements in next class. I also want to fine tune her expression. So far so good...