Figure on gesso panel
 

Since Cynthia has opened an area for nudes, an area that I'm sure going to make much more work for her, I thought I'd post several images leading to the production of a small figure painting.

The painting is based on this drawing.

It was done using a pastel pencil. I used a kneaded eraser to remove highlights.

I felt it worked out well enough for me to translate it into an oil.

At one time Rob Howard was thinking about manufacturing gesso panels, real chalk gesso on cradled hardboard. It was my good fortune at he sent me a 12x16

I finally got around to toning and sizing the gesso. My tone was made of raw umber (a fast dryer) and ultramarine blue. I added copal painting medium, the copal serving to strengthen the thinned paint and size and seal the very absorbent gesso. I thinned the mess out with turpentine too.

I brushed on the tone and then wiped it down with the Scott Rags I keep in my studio.

A few days later I started the painting. I began with a brush drawing and quickly got into color. I kept my brushwork as light and open for as long as possible. I stopped working before it began to get difficult. Had I continued longer, I could have begun to paint the life out of the work.

I finished it off to my satisfaction in a second session. I did this a day or two after the initial paint had dried. Before picking up my brush again, I went over the surface with my painting knife and scraped down any paint ridges that could get in the way of the form when the painting was complete. I used filbert bristle brushes mostly, always the biggest sizes possible. I paint with a very light touch. Remember, if you apply the paint with a light touch, you can paint wet over wet without turning the surface into a muddy road. If you paint with a heavy hand, you are digging paint up and either moving it or removing it.

That

What more could a moderator ask!
 

Bill,

Not only do we get a gorgeous painting but we get a lesson that will be of endless benefit to our forum participants.

The play of the neutral and rugged background against the creamy pinks of her flesh tones is really lovely.

Thank you so much for this stellar offering.

Bill,

This is gorgeous - as usual!

It was this time last year I saw some of your work in Midland, Texas at the Haley Library - will you have anything there this year? I'm showing right next door at the Museum of the Southwest in March - I'll hand deliver my painting if I'll get the chance to see any of your work again!

Bill, by the way - Rob Howard's son Max sells and creates these gesso panels. I'm using my first one now - they are wonderful. www.realgesso.com

That's a great link Kim. Thanks.

I will have a painting of roses in the Midland show. I'm going to photograph it and crate it today.

Remind me and I will send you a shot of it. No sense in driving to Midland.

Sharon,

I'm very impressed with you for getting involved and heading up this section. The computer/technical responsibilities of this job would give me an ulcer.

Thank you for the offer of a shot of the painting, but I beg to differ. I'm number 14 on the waiting list for your April workshop and it looks like I won't get it - at least I can go see another in person. I'd appreciate it if you'd send figuratives in next year for the show. ;)

Dear Bill,

This is such a lovely thread, and wonderful to see your steps. I can hardly wait to see you this spring.

WOW.

I'm with Sharon: what more could one ask? Just great stuff, Bill (geez, may I call you that?). I hate to seem like a sycophant, but you are iconic in my book of contemporary figure painters. With your permission, I hope to commit to memory the techniques here and pass them on to my students; this info is priceless.

I must tell you, one of assignments in the beginning drawing class I taught last semester was to copy a master. There was a lot of Bouguereau and Leonardo and Lord Leighton. But one student came in with a printout of "The Secret." I was very happy to point this out and say, "Here's a guy who's not dead!" His drawing came out very good indeed - a breakthrough, actually.

A light touch, eh? I'm like King Kong when it comes to alla prima. Better lay off the bananas and practice more!

Kimberly - AWESOME link. I've been looking for the very thing. :D

Dear Bill,

What a treat! Thank you so much for posting this!
I hope to take your workshop someday too ...


Maria

Mr. Whitaker--

Thanks so much for this demo...your work continues to be an inspiration.

Best--TE

Beautiful!
 

Simply beautiful.

You know I love your work.

This will inspire many.
 

Everyone has expresses it better already, but I want to echo that this demo is an invaluable asset to the Forum community, and will inform and inspire better paintings from many.

I love the punchy background and the way it chromatically supports the figure. Hopefully one day I can take a pilgrimage and see your works in person.

Garth

Another wonder treat for my eyes, thank you so much for posting this. I always learn so much from your threads. I'm going to look for the marble dust etc. and see if I can gesso one myself. Is there a standard "recipe" for this concoction?

Jean

Bold
 

Bill, I'm always surprised to see how boldly your start as compared to how finished (fine) the final results are. I saw an old issue of Art Talk today with one of your works on the cover.

Lovely!
 

Bill

Beautifully done, as usual...

Keep posting!

Tony

Bill, can you humor me and prehaps others and post an extreme super-duper close up of your brush work? I am with Tim, you brush work is loose and painterly but your images, as the face here are so smooth and finished looking!

It must be magic!

Another gem!