And another...with one color added!

[Jimmie Arroyo]

Hi everyone, decided to take the plunge and add color to my palette. Hardly, I used white, black and venetian red. I spent a lot of time mixing, trying to get things right; not too red, not too black. It was a struggle.

Still not happy with my drawings, but don't want to take long doing them. Of the three of this model, this one came closest to her. If we have another multi-week model, I plan on sticking to one piece, rather than start a new one every week. Hopefully, I'll have better luck with the drawing and I'll feel more comfortable as I progress. I'll keep you guys informed. Thanks for looking.

[Kimberly Dow]

You are cruising right along Jimmie! Keep it up

[Patricia Joyce]

Jimmie,
This is great, better than the last and the last was better than the one before!! I'm excited for you!

[Michele Rushworth]

Each one keeps getting better, Jimmy.

I used white, black and venetian red.

Now all you have to do is add yellow ochre and you'll have the entire range of pigments that Rubens used for all his flesh tones. Now THAT'S a limited palette!

[Sharon Knettell]

A few tips. Keep the shadow side less cluttered. It is a temptation to want to add all those wonderful reflected lights, but keep the shadow area more restrained.

The neck length is generally 1/3 the length of the head. It is actually somewhat less, but that is a classical proportion and one Sargent used.

[Jimmie Arroyo]

Thanks Kim, Pat, Michele, Sharon.

Now all you have to do is add yellow ochre and you'll have the entire range of pigments that Rubens used for all his flesh tones

The teacher suggested the ochre, so I had planned on using it next week, thanks. Now Rubens painted some nice women.

Sharon, I did'nt even notice just how long the neck was. Must have been so preoccupied with the face, that I ignored everything else. After you mentioned it, I looked back at the original and thought, "It looks like those women that wear the rings around their neck." Ha.

Thanks again.