22 artistDecember 2019 http://www.painters-online.co.uk
p STAGE FOUR ABOVE AND LEFT
I have a included a close-up here to show my
unfussy approach to brushwork. Although the
painting is still in a relatively raw state, any
further application needs to be suiciently
economic so as not to lose the energy and surety
of touch in these early/mid stages. Colour values
are, I suppose, slightly exaggerated, but serve as a
colour marker for the later stages, where slightly
greater subtlety is needed to enhance the likeness
potential. In terms of lighting for this sitting, I
relied on daylight coming through an adjacent
patio door and three studio skylights on a
relatively lat, sunlight-free January day. I did have
some studio lighting backup where I deemed it to
be advantageoust STAGE FIVE
This stage addressed the accuracy of all features
relative one to the other. I made adjustments to
the eyesight direction and made sure the centre
distance of the eyes, relative to the position of all
other features, was correct. I also made sure that
the mouth line was level with the line of the eyes,
and that I had captured the slight upturn at the
corners of his mouth which give an indication of
Matthew’s character – pensive at one moment,
as here, but he can have you in stitches at any
moment!