Here his another shot of the painting in progress in Reene Foulk's class. Now it's inching my way across subtle transitions so I really have to slow down and look a lot more than I paint to make the transitions work. How do you translate temperature and local color in a gray? What does the painting need as opposed to what I see?And Reene set this up to be a real difficult problem as the lighting is very, very soft, diffused, hardly any strong core shadows. In the end I will glaze color into it, maybe starting next week, I still have to finish the head, hands and drapery.
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