“A Study of The Painter’s Hands” and its development.
A Study of The Painter's Hands
9" x 12"
Oil on birch panel
Greetings fellow Steemians!
In this post I thought I would share my latest painting of a study of my own hands and discuss its process/development.
So before I was going to transfer my block in drawing, I first decided to tone the panel’s surface with raw sienna.
After I transferred my armature drawing, I then sealed it with ink and then began to proceed with laying in the shadows/darks.
Working in a very tight and direct manner, I progressively aimed towards a final finish as much as possible before moving on to connecting the adjacent forms.
As I continued to work in the shadows, I kept into consideration to have them remain “hot” in temperature, and to render the core shadow’s terminator line (the forms coming out of the shadow) to be cold but neutral.
As I finished the first pass on the first hand, I then began to finish massing in the adjacent background with a mixture of titanium white and ultramarine blue.
..I then continued to somewhat fill in the surrounding background and with mixtures of ivory black and venetian red started to fill in the predominant shadows of the left hand.
As you can see in the section between the thumb and index finger, in the methodical approach of tiling I made sure to extend the cold but neutral midtones out of the core shadow, proceeded to render in the local color of the form, and increasing in value as I turned into the light.
As a side note, I’d like to point out that I treat all forms in this way. Just remember, that in a sense everything is a sphere.
..Working my way up to the fingers, I made sure to keep those lightest of lights as opaque as I can.
...Aaannd it's finished!
The palette I used for this painting was once again what I’d consider a minimal palette. I used titanium white, yellow ocher, venetian red, ultramarine blue, and ivory black.
Please feel free to let me know what you think?
Thanks for reading Everyone!
-James Hansen