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Clothed figure painting

On Thursday our model will be clothed and the session will be an extension of the "figures in interior settings" we did, where we looked at all the visual textures that could enrich our painting and where the human figure was one more element of the composition.

This is going to provide us with the opportunity to continue experimenting with the physical process of putting on and taking off paint to alter the forms as we go along, like in this example by Vuillard.

This implies that we must be willing to change our painting as we go along to explore ways of applying paint but also of simplifying the forms when the composition gets a bit lost.

Paintings that look completely spontaneous often have layers of changes underneath that have been covered by a mixture of blocking as well as line work (Jennifer Pochinski below).

We'll continue our method of dividing the painting into two values to establish a composition (even if that changes later) and aim to give the viewer the satisfying visual clarity that makes a painting appealing.

If we keep forms and colours down to a minimum we have a better chance of controlling the effect that our composition will eventually produce.

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