Some days are just like that. I set to work on a project and every single piece I want to put in isn’t quite right. Maybe I have to cut it three times, maybe I change it out for a slightly different color or texture two or three times. Eventually I get terribly frustrated, and at that point I know I have two choices: force myself to keep going and know I will hate the result, or give up and come back the next day.
Often it’s because something has gone awry either in the andamento or the shading that I can’t quite identify up close, so I’ll take pictures. When I get home and put them on the computer screen, I can usually see where I ran off the rails.
This time it’s the shading. I now know I have to go back and rework some of it to get more even depth on the calla in the foreground.
You can get a better sense of it from this picture, which shows the reference photo as well:
I’m fascinated by this process, and I have been using it as a way to check my progress for years. I never really knew why I could see things in a photo that I couldn’t see in person. Then a couple of years ago I was told by a photographer and artist that when translating photos into paintings, you have to remember that a photo will flatten a landscape, so it takes some effort to recapture the depth and dimension. A little light went off in my head – so that’s why! The photo flattens the image, so any missteps in shading and andamento are exaggerated and more easily identified. Eureka! It’s a great tool.
Tomorrow I’ll start with ripping out some tess and replacing them, the move on to finish that flower.