Then on to paints, black and white. Purpose of this exercise was to focus on searching out the various tonal plains in the model's face, looking for around five variations or certainly that was a many as we should consider, as an upper limit, in our painting. Advised against using pure black or white paint in the picture. As we were using acrylics it did not matter in which order we laid down the tones...fast drying and easily corrected (not building up layers). Also told to be careful about the use of the lighter tones, use where they are seen on the subject, lighter tones in the shadow will still be darker than those area being hit directly by the light... getting this right will help give sense of form and space in the painting...getting it wrong will flatten the image.
I hour painting done of coloured paper after spending around 20 minutes drawing the form in chalk trying to map out the different tonal areas. The hogs hair brush I was using was not going to allow me to deal with any detail, plus I was keen to have something that was as finished as possible , i.e., all areas of the painting worked up to the same level within the time available.
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