Study of Dana
 

This is another way to begin. In school I learned a method of beginning a painting through monochrome. This was fairly standard operating procedure through most Western painting methods for many centuries. This is an example of how I would begin a painting with a monochrome block-in that was meant to work out nearly all problems in composition, drawing, value and edge. It is an excellent way to work out many problems without having to deal with color, paint thickness and wet into wet painting. The paint is thinly applied to the point of transparency. Care must be taken in the darks not to build up the paint too thickly. The paint is thinned slightly with paint thinner and maybe a bit of oil for the initial stages. Subsequent stages use only the paint as it comes straight out of the tube. Stick with the red earth colors as they are easier to manipulate than the staining colors and have less tendency to interfere with color when showing through brushwork later on. The only problem with this method is that sometimes you intended it to be a block-in and it turns out so beautiful as is that it seems such a crime to cover it up and that you end up leaving it as a monochrome painting... As I did!

Sorry about the wrinkles, haven't stretched it yet.

I agree, it's too beautiful to cover.

If you should go on with it, would you wait for it to dry first ?

Hi Allan,

Personally, now I like painting wet into wet but when I was a student I preferred to let the first layer dry overnight and start the next day with fresh paint on top of the block in. The advantage of working wet is that you can manipulate the edges better. Now I use this monochrome method only for fairly low colored work and most of the darks are left alone. This means that I have to integrate the edges of the first layer darks with the over layer of opaque paint.

Beautiful, Clayton! Thank you for describing this method.

Wow, what a gem! What dynamic virtuosity in your expression. It's a perfect state of completion. Thanks for the view and inspirational insight.

Garth

Beautiful and inspiring.

What a Guy!
 

Clayton, I am so ... sorry that I was unable to attend your Scottsdale Artists' School workshop. I had applied for a scholarship, but...alas my phone didn't ring. Chris Saper had posed for you and told me what an incredible teacher you are. (She didn't need to tell me about your expertise!) I was really disappointed, but I am sure your workshop was overflowing with eager learners with no room for scholarship students.

Your instruction and examples here are so interesting, helpful and very much appreciated. Please keep them coming; I read and take in every word. Hopefully, I will soon be able to take a workshop with your instruction. :thumbsup:

Absolutely delightful!

Hi Carol,

I instructed SAS to always allow scholarship students into my workshops. I don't think I will be teaching at the school for a while. I am sorry that you missed the last one. I hope to see you elsewhere, perhaps Chicago.

At the Palette and Chisel Academy of Fine Arts I teach a 5 week workshop on the head. 50 different approaches to painting, in the tremendous north light studio.

So good to hear from you,
Clayton

I can't say enough nice things about this. I'd love to see it up close!
I'm going to bed tonight inspired.
How many people, other than artists, can say that Monday is our favorite day of the week?