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(10-26-2020, 09:37 PM)Who Wrote: [ -> ]Wrt to hands and feet. Honestly, I have come to believe that all abstractions are simply that. They are all a system of observing geometry of form expressed through a particular perspective. As such, I cannot predict what will resonate for you and what won't. The onus is on you ultimately. Proko is probably as good as any as are all the other usual contenders for abstraction systems.

My meta advice would be, that once you are done trying one system over another, attempt to look at some reference and find your own rhythms, your own geometry that makes sense to you when breaking down the forms. It never hurts to do master studies, not simply construction abstractions. This becomes more important/useful as you develop past fundamentals and study and into the realms of more authentic expression. Processing through your own filters begins to work on devoping your own aesthetic approach, which ultimately is what I think most artists want to achieve.

Basically. Learn, then experiment yourself. I am only being this vague, because I feel you have a good grasp already on how to learn and what's actually important.

Thanks for the sound advice Who :) Master studies is one area that I never make enough time for and really need to. I was thinking once my current classes end that I would take a break next term from Watts live streaming to focus and catch up on areas that I feel I've neglected for too long such as hands/feet.

I definitely still feel like I haven't really found my artistic voice or vision, I know it's not a simple thing to discover for yourself like you explained so master studies seems like something to focus on.

Observational Colour




I've been trying to develop my rough comp into something more complete which I've been struggling alot with the past 2 weeks. Not sure if it's becuase I'm trying to follow Erik's approach that he demonstrates which is different to my own that's causing this issue, or if it's simply becuase I'm trying to do things that I have little experinece with doing?

Anyway this was my first attempt at a tonal comp. I usually attempt a line drawing first from imaginatioan that I develop as much as I can before shooting ref and then do a tonal comp, whereas after our roughs we are shooting ref and then working on top of our rough tonal comps to a finish without doing a line drawing and drawing in "paint" or tone. Perhaps this way of working is what is confusing me?


I wasn't liking it at all ( I mainly felt my value structure and shape design were weak) so I sent it off unfinished for Erik's advice and see if he can pojnt out where I was going wrong.


Main feedback from Erik was to reduce the size of the male head and tone down the expression aswell as some atmospheric lighting.


2nd attempt

I decided to re do my tonal comp from scratch as it seemd it would be less trime consuming compared to trying to fix the many mistakes on my first attempt.

Decided to do a line drawing first to work out my shape design


This is what I have so far. It's a definite improvement on thefirst, still not liking the guys face so i want to spend some more time developing it.


Observational Colour

Moved away from using pallette knves and using brushes instead painting the same subject under warm and cool light.


Plein Air

Some more plein air work

Only got 2 pieces done but spent abit more time on them. Painting was roughly 1h30m and the drawing around 50m-1hr. Had a hard time with the paitning since the lighting was constantly changing. Going to try a different yellow next time since I can;t mix bright greens my my current palette.



Some studies of Brian Knox's hand demos (left) and some drawinjgs of my own from ref(right). Not the prettiest hands but it's start.


My scanner is being very temperamental atm so I've had to use the scanner on my printer instead which as you can see is not very good.
Just a quick update, haven't had as much time the past week as I usually do and had some issues with motivation but still plodding along. Hopefully I can get back into my regular routine now.

Observational Colour

Moving away from still lifes and using a warm/cool pallette and exploring the zorn palette and portrait painting. This week was simply exploring the zorn palette and mixing some skin tones for pale and dark skin, and variations of warm/cool tones.

Experimented with 2 versions of yellow ochre as I couldn't get ahold of the particular brand of yellow ochre that Meadow recommended (gamblin) which is alot warmer and more vibrant than what I have here.



Worked on my tonal comp some more based on Erik's feedback, trying to push it as much as I can.


Colour comps

Exploring different colour comps. These were all based on the colour choices of different pieces of artwork that I liked and thought might suit the mood I wanted.


Chosen Colour Comp

This is the colour comp I liked the most and ended up choosing.


Got some small correctional changes to do on my tonal comp (based on this weeks feedback) so once that is done I'll move onto actually painting it.
Apologies forthe delay in updating. I was going to post last weke but I had a week off from work and ended up taking a few days off to chill and relax.

Anyway back to the grind.


Did some alterations on my tonal/colour comp based off Erik's advice.


Started work on the physical painting.

Tonal Comp

Used Raw Umber for this



I'm following along with Erik's demo's and tackling whatever it is Erik is wokring on that week, the first being portraits so I started with the male face/hands on mine.


Not really happy with the face right now, spent quite abit of time on it already so it might just be that it's the best I can do right now. I'm going to work on the rest of the painting first and come back to the face and see if I can improve on it.

Observational Colour

Assignments for the last few weeks

Colour Wheel

This was more of a side assignment, I beleive we are doing gamut maks the last 2-3 weeks hence the colour wheel. This was done using a 50% grey mixture to desaturate the primary/secondary colours. Spent around 2 1/2 days on this to get it as accurate as possible since it’s a tool I’ll be using for years to come.


Week 6

I tried treating this one as a gesture painting so I spent around 15-20 minutes on the lay-in and maybe 2 hours on laying colour. Definitely went into this one with the wrong mindset/intentions as it just got worse and worse the more I worked on it. I was feeling abit burnt out aswell so not sure if that contributed to it fialing as bad as it did.


Week 7

This was done a week later after I had a few days off to relax. Took Meadows advice of picking one area that I wanted to work on/improve. In the end I chose tiling as the area that I wanted to work on so that ws my intention for this one. Didn't set my self a time limit on this, just spent as much time as I felt needed to accurately judge my colour choices and gradations.


The previous week I was having alot of difficulty judging what colours I was seeing and the shifts ijn colour temperature which I felt I didnt struggle as much with this week since I spent more time studying the ref.

Plein Air

Another plein study from the other week.


This is actually a part of the ruins of an old manor house in the woods that I have been going to that some guy told me about. Decided to spend more time on this one and take my time observing. Spent round 2 hours on this total. I was hoping to do some pen/ink sketching afterwards but the cold weather got the better of me (sitting still for 2 hours did not help either). I've bought some more warmer clothing so hopefully that helps next time I go out.
Nice studies! I actually quite like the one from week 6, which you say you felt turned out bad. For your colour studies it looks like you're attempting to stay very accurate to what you see. That's great training but I think eventually you can attempt to exaggerate the differences in colour temps/hue , pick which areas you want to be more saturated etc
(12-05-2020, 06:38 AM)Skeffin Wrote: [ -> ]Nice studies! I actually quite like the one from week 6, which you say you felt turned out bad. For your colour studies it looks like you're attempting to stay very accurate to what you see. That's great training but I think eventually you can attempt to exaggerate the differences in colour temps/hue , pick which areas you want to be more saturated etc

Hey Skeffin thanks :) Glad someone liked that study haha.

Thanks for the advice, I tend to have a bad habit so to speak of not pushiing/exagerating certains aspects of a drawing or painting. Something I'm definitely trying to fix haha.
Didn't realise I hadn't posed in so long...............Spent most of December trying to get the illustration I was working on done and then took a 2 week break over the Christmas period since I was long over due for one haha.

Anyay enough talking, here's what I got done over December.


Observational Colour


Spectrum Illustration



Observational Colour


Spectrum Illustration


Final Painting


Calling it done on the illustration. Feel like I've pushed it as much as I can with my current skill level.  Still have a long way to go but I guess we all have to start somewhere. I'm just happy with myself since I got something done that wasn't a study.

New Plan

I've been working on my new schedule going forward. My original plan was to study, I have some areas that I need to address so my plan was to work on certain aspects of my draftmanship e.g. Portraits, drapery etc alongside painting studies to get the mileage in, and after roughly 5 weeks of studying, take what I've learnt and attempt another illustration but going by Erik's feedback in the last spectrum class I might wait just a little bit longer before attempting my next illustration. simply becuase I have quite a few areas drawing wise I want to address first.

My current plan for the next 7ish weeks where to work on the following:

1. Portrait - Signed up to Scott Eaton's Portrait course but that doesn't start till 22/01 (hench my 7ish week plan)
2. Hands/Feet
3. Anatomy - plan is to continue this indefinitely and only take a break when working on a illustration
4. Painting - Master studies and still life/plein air

Still plan on working on my perspective and drapery skills but I think the above is all I can handle right now along wiht my day job. My plan is to work on these 2 once these 7ish weeks are over and then attempt another illustration.

Currently working on a painting for a friend which should be done this week so should start my new schedule beginning of next week and get back into posting.
Listen, man. You are absolutely amazing for pushing the piece to it limits! I congratulate you for doing what many can't and I'll keep you mind when I want to be done with something I know could be even better if I worked towards it. It looks great!  Happy
Hey Peter - awesome update!

Fascinating to see the tiling technique in action here - thanks for sharing!

Also - congrats on getting that spectrum piece to a finish - I'm in awe of your skills with traditional oils already! I know this piece is done but one slight critique for you to consider for future pieces if I may - I feel that maybe you could have pushed your darker values a bit more - at the moment I feel that the dark value inside his mouth really stands out and could use some darker accents maybe beneath his jawline where it disappears beneath his hair. Hope that helps - please ignore if not.

Keep it going though!
been following your sketchbook for a while, really love the organisational way you present this stuff. So useful and educational! Really awesome to see your traditional painting work progress and great results ^^
typhoneus - Thanks for the kind words :) Not gonna lie it was pretty daunting at first haha, but the process turned out to be easier than expected. For some reason I kept over thinking the process of building a painting up in layers.

Artloader - Hey man it's been ages, great to hear from you! Your far too kind :) Thanks for the suggestion on the value structure. I was actually thinknig the same thing once it came to taking photos. It looked fine while I was working on it but looked abit washed out (atleast to me) when I took some pics. Not sure if I need to adject my lighting when I paint.........

JyonnyNovice - Thanks man, glad you like my posts. Happy you can get something out of them :)

Update for last week.



Forgot to post these last time. I did some prep work where I did a quick colour comp for the final painting, mainly to see if my intended palette was capeable of mixing the colours in my digital comp.


From that I did some pages of swatches with a note next to each showing what colours where used to mix it. Just a little handy reminder for myself since I was painting over a couple of weeks and had to re-mix my paints each time.


A friend asked me to do a painting for her of a friends horse. I have very little practice of drawing or painting animals, let alone horses but thought I'd give it a shot. Tbh I don't really like my final result but my friend is happy with it so I guess that's all the matters really? Safe to say I will get some much needed practice in before I attempt animals again.

Tonal Comp


Colour Comps


Final Colour Comp


Painted Colour Comp





My schedule going forward was going to focus on:

1. Anatomy/ Figure Construction
2. Portraits
3. Hands/Feet Construction
4. Master Studies
5. Still Life/Plein Air

Setting aside time each week to do some invention/memory drawing of anatomy, hands/feet etc.

Not sure if I'm trying to do too much in a week or not? especially since some things are taking longer than I thought.

Master Studies

Some Frazetta arm studies.


A graphite figure study of one of Brian Knox's lay-ins. Originally attempted a figure lay-in from photo ref but scrapped it since I had made too many mistakes. Trying to get back into figure/facial construction after taking an extended break and I am definitely rusty.



Portrait lay-in from photo ref focusing on construction. Originally tried drawing in the same way as an atleier does with careful measuring rather than construction but felt I wasn't really learning from it so I went back to construction since I want to actively get better at it.



Started working through the hand section of the Proko course. Was meant to get some feet studies in aswell but these took me longer than I had thought originally.


Still life

A quick still life of apples. Trying to actively work on my colour mixing and accurately identifying the colours I am seeing.




Bargue Plate

Also working on a long drawing of a bague plate after Joseph recommended it as an exercise to work on accuracy. Taking my time with this one and spending a few hours each week on it. Notcied when editing the photo I've already made a few istakes that will need correcting.


I also have some master study paintings I'm working on to help me with my shape design and colour mixing/choices. Mix of landscapes and portraits, gonna wait till I have more done before posting though.
Amazing sketchbook man! You are showing some crazy dedication and work ethic!
The bargue drawing is looking good so far! Definitely keep trying to push it to be more accurate. Probably most lines you have could be tweaked at least a little bit in their angle and placement. Sometimes it feels like a waste of time, like who will care if some line is off by a millimeter or two? But if those little differences are all over, they kind of compound on themselves and make a big difference in the overall drawing.
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