On Thursday we are going to practice painting the human figure by carefully observing how light and dark shapes interconnect.
We'll look at ways of suppressing our preconceptions of what a painted hand or foot should look like and actually observe how the contrasting values create the forms. You might remember that we did this with the elephant study.
Our tonal study will involve 95% observation of our model (even if it is a photo this time) and the development of "one touch" painting to prevent us deviating from what we see.
We're not aiming for accuracy but for an overall feel for the shape of the figure, which will be more to do with painting negative shapes, like this example by Richard Diebenkorn.
or this one by Walter Sickert that has all the brushstrokes visible for us to appreciate.
