Session #007, Work #006

Double Oh Seven painting. I think this is the best one yet, but far from where I want to be.

I will keep painting and continue to learn and get better.


The setup

This was a continuation of Painting #006. It was dry from last night so I put a wash over the painting and then fixed the drawing. After dinner I focused on getting everything correct during painting and drawing as I went. This one took me a while, I was taking my time and trying my best for a while. Close to the end I relented and began to play with the background with flourishing strokes just to see how it would turn out.

I also tried out a Gamblin medium mixture tonight. I really didn’t notice much difference than the liquin medium, but I will have to wait and see how it dries. Hopefully it will be a bit more matte. Plus I was trying out some of my sable brushes instead of the normal bristle or Langnickel, I have to say that I really liked them. Tomorrow I will be going to Blick art store to purchase some Winsor and Newton Monarch brushes. I hear they are really great and synthetic, so no animals were harmed during the making of them.

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color


I outlined the castle in the painting then laid that outline over the picture of the castle to get an idea of how accurate my drawing is.

How can I improve the drawing

This is my best drawing yet. Of course its not an accurate representation of my current skills because I corrected the drawing after one night of nothing but drawing. So, lots of focus on drawing here. I can’ t wait till I can draw really well, I hope to reach it once the painting numbers are in the three digits.


I removed all the color and pulled out swatches of each side for a close comparison of values.

How can I improve the values?

I few values here went a bit darker than they needed to be. The swatches I pulled out are good, but some the darker parts of the shadow side of the castle are just too dark. they are too close to the darkest dark in the painting.


I focused a bit on edges here, its not hard to determine the hardest and softest edges. The hard part is softening edges where two completely different values of paint are right next to each other.


I kept the composition simple and didn’t focus on it at all. The only thing I wanted to do was keep the entire figure in the painting.


Not much of a focus on color here. I just recognized which areas were warm and which were cool and tried to keep them somewhat true.

Session Details