Figure on gesso panel

[William Whitaker]

I finished it off to my satisfaction in a second session. I did this a day or two after the initial paint had dried. Before picking up my brush again, I went over the surface with my painting knife and scraped down any paint ridges that could get in the way of the form when the painting was complete. I used filbert bristle brushes mostly, always the biggest sizes possible. I paint with a very light touch. Remember, if you apply the paint with a light touch, you can paint wet over wet without turning the surface into a muddy road. If you paint with a heavy hand, you are digging paint up and either moving it or removing it.

That

[Sharon Knettell]

Bill,

Not only do we get a gorgeous painting but we get a lesson that will be of endless benefit to our forum participants.

The play of the neutral and rugged background against the creamy pinks of her flesh tones is really lovely.

Thank you so much for this stellar offering.

[Kimberly Dow]

Bill,

This is gorgeous - as usual!

It was this time last year I saw some of your work in Midland, Texas at the Haley Library - will you have anything there this year? I'm showing right next door at the Museum of the Southwest in March - I'll hand deliver my painting if I'll get the chance to see any of your work again!

Bill, by the way - Rob Howard's son Max sells and creates these gesso panels. I'm using my first one now - they are wonderful. www.realgesso.com

[William Whitaker]

That's a great link Kim. Thanks.

I will have a painting of roses in the Midland show. I'm going to photograph it and crate it today.

Remind me and I will send you a shot of it. No sense in driving to Midland.

Sharon,

I'm very impressed with you for getting involved and heading up this section. The computer/technical responsibilities of this job would give me an ulcer.

[Kimberly Dow]

Originally Posted by William Whitaker

Remind me and I will send you a shot of it. No sense in driving to Midland.

Thank you for the offer of a shot of the painting, but I beg to differ. I'm number 14 on the waiting list for your April workshop and it looks like I won't get it - at least I can go see another in person. I'd appreciate it if you'd send figuratives in next year for the show.

[Chris Saper]

Dear Bill,

This is such a lovely thread, and wonderful to see your steps. I can hardly wait to see you this spring.

[Rob Sullivan]

WOW.

I'm with Sharon: what more could one ask? Just great stuff, Bill (geez, may I call you that?). I hate to seem like a sycophant, but you are iconic in my book of contemporary figure painters. With your permission, I hope to commit to memory the techniques here and pass them on to my students; this info is priceless.

I must tell you, one of assignments in the beginning drawing class I taught last semester was to copy a master. There was a lot of Bouguereau and Leonardo and Lord Leighton. But one student came in with a printout of "The Secret." I was very happy to point this out and say, "Here's a guy who's not dead!" His drawing came out very good indeed - a breakthrough, actually.

A light touch, eh? I'm like King Kong when it comes to alla prima. Better lay off the bananas and practice more!

Kimberly - AWESOME link. I've been looking for the very thing.

[Tony Pro]

Bill

Beautifully done, as usual...

Keep posting!

Tony