I thought I would add a short note to tell you that I have been occupied with a health concern, trying to get answers to this problem. I have had increasing pain through out the summer but in September I called for an appointment to consult my doctor. Over the next several weeks, meds and tests, we ruled out the normal back and body pain and concluded that this extreme pain is in my gut, not my stomach. There have been a number of theories as to what is causing the pain but none have proven to be correct. No doctor was able to offer any help for the pain, which was totally debilitating, so I put myself on a liquid diet, then on pureed foods for about eleven days. When I finally had the courage to eat a regular meal, the pain had subsided and was tolerable. Something must have healed. I am still looking for answers.

I have not gotten much done on my painting. Doctoring takes a lot of time and energy and I haven’t felt well enough to paint. I am doing a little now and will try soon to upload a photo. I hope to work this year on the miniatures and a couple of other projects that are not finished. I have lost interest in shows. Covid has taken away our right to gather and the social events are canceled. I miss my friends. I want to get myself more motivated and get back to a regular routine of painting every day. I am coaching two portrait students and it helps our psyche to be together.

So for now, I wish you good art and good health. I will get back into a schedule soon. Till then, shalom. Diana

Guys, I hate it when things get changed. It may take me days to figure out how to post on here now that some one who runs this thinks it needs an update. Sorry

don’t have much time to post but I wanted to get you all up to date on this work . I am almost finished. I may do another layer of flesh and also glaze in some rich cheek pinks, a little more on the hair, just some darks, I think. Till then, stay well.

When this painting sits downstairs on my fireplace, it glows. A portrait that looks so simple, is simply NOT.  I began with the desire to capture, of course, the likeness. But also I wanted the expression and the strong moody light. I felt that this is what would captivate the viewer. I was visiting my daughters recently so missed some posts. You can see that I am working on hair and eyes. I am still not satisfied with the shadows in the face. This area has not jumped over that depth threshold. I will keep working.

During the summer of 2019, most of us were unaware of the looming tragedy that was hanging like a storm cloud above us. Since then, our world has changed. Just look at the little face masked toddlers with their parents. Do any of us think about the drastic changes in their routines. Or even how many more are hungry or frightened. I am convinced that our ‘leaders’ have made unwise decisions. Even now I read more are still dying from flu than the virus and no one quarantines for that. Since when have we ever quarantined the healthy and caused devastation in whole societies. Of course this is a pandemic threat but I believe we are not applying ancient practical wisdom in this dire situation. Don’t allow the media to dictate our responses. Let’s return to common sense. Care for our families, protect others, avoid violence or places where violence is predictable. Remain out of public places if you believe you are exposed. Love and continue to do art if possible. Pray. Keep your eyes open and your mind alert. May you be blessed. Diana

I have added another layer of flesh with cool purples and warm reds. I have added some careful touches to the eyes and yet they will take a lot of work to be right. I hope to work more on the hair tomorrow. The light in this one is so real.

I am rushing to finish. I don’t have time to say much, I just wanted to let you seee the updated work. Hugs

In my photo library, these shots are together, side by side. I wish I could show you four or five like that. It really emphasizes the changes. The light shows brighter in person. The skin color needs some adjusting. The eyes will get form and lashes and shadows. Then the hair which is only suggested right now. I probably won’t rework the hair until the flesh is finished. Shalom, Diana

it may not seem like there is a change but the details are suggested. It is like placing a guide line. You may not want a bold mark but you can proceed better if you know what is ahead.

Following the patterns of light and shadow that I established I now begin to add the flesh coloring. I have applied a transparent half paste mixture of a flesh tone that will head in the right direction for this child’s skin color. I mix flake white and Naples yellow light to use to modify and mold the face. It is more like carving or molding clay than painting. I lay in the light, allowing the flesh tone to remain darker in the shadows. Later I will glaze the rosy tones and the darks. This achieves a depth and suppleness to the flesh. Oh, yes. I always tell my students that it will remain blotchy until several layers have been applied.

When an artist spends days making marks on canvas, that seems simple. No spectator sees or hears the decision making that goes on in their brain and neither could they have any concept of the visual study that must be done to capture likeness and spirit with paint, texture, color and value. After a days work I bring a portrait to my living room where I will spend several hours intermittently studying from across the room. I analyze. I search for necessary corrections. I virtually modify. I decide on improvements. Right now I am marveling at the illusion of soft fabric in the first painting layer of a sleeve. I am thinking and planning what can be the spotlight of a portrait; the eyes. During the time I have devoted to perfecting the portrait, I have come to understand the way light flows across the cheek, I have learned that the line of the mouth is critical to achieving a likeness and I have fallen in love with the message in the eyes. Every stroke is thoughtfully placed the same way an author or a poet creates a mood with words. The sense of accomplishment is fulfilling and it is the force that propels me to the next painting.

Here is where many get frustrated and discouraged and yet I tell my students to enjoy the part where they get to slowly build a masterpiece. A wonderful portrait is not laid down on canvas with a slash and dash formula. It takes a lot of patience and planning to make this look effortless. Today, after a long morning in the garden, thankfully with a strong willing helper, I came to my work in the studio. Upon careful examination and thought, I decided to lighten and brighten the background. I put some planning strokes and first layer of color into the sleeve and neckline of the dress. I even whited out the background to extend the front edge of the dress to make it hang in a more natural way. I carefully plotted out the curls. The artist must decide if she wants the hair impressionistic or more realistic. For this one I am going for realism. Then I studied the line, just the line where the lips touch, and refined the drawing. Don’t let the eyes fool you. Work on perfecting them touch by touch, stroke by stroke. Build them up layer by layer. They can be the most beautiful part of a portrait. Don’t use heavy dark paint in the beginning or you will loose your opportunity to correct and perfect them. This child has wonderful features and I am aiming to capture the look of wonder and mystery in her gaze. Happy painting. Diana

here I have mixed a half paste of transparent idea gell with titanium white and flake white. I paint it over the dried portrait, making sure it is covering all and deep into the linen pores. Then I take a soft fan brush and buff it until the portrait emerges. I want a good surface to work on. Then I use titanium full strength to reemphasize all the brightest areas and pay close attention to getting the likeness perfected. An artist must see forward and know what she is aiming for. I can’t work today because I have an eye appointment. Diana

Here is where I left off last week. If I have time today I will put another layer on the background to lighten it up and then I will apply a half paste of white to the flesh. This creates a simulation of skin over the structure of the face. Also, I will make corrections on the eyes and hair outline. Hope I get that all in today, but first I must send in digital entry to the Allied Artist’s show.

I will copy and paste if I am able to.
Ok, I didn’t get that screen shot cropped before I posted it, sorry. I just want to add some notes for you portrait artists. In this first photo I have transferred the drawing. I had several reference photos and I combined them without computer, that is, I just made the changes with pose to put together the light, position of face, body angle and hair. I had a lot of smudges from the transfer because of the heat today and condition of my painting mixture. I just used Windsor Newton artists oils and some extra linseed oil. I just used a dry brush to move the paint around and a quip or two to remove some. Then I applied the white straight to the canvas and made it thinner or heavier by manipulating the pressure and amount of paint. After I refined all the painted areas, I buffed it smooth with a fan brush. The paint dried way too fast in this heat. I will let it dry now and then I will probably apply a thin color was to get a background color started. I must adjust the eyes a little. They aren’t quite right. Till next time. Diana