Time for segment four. I've been dragging my heels about updating because I'm getting kind of tired of my Iron Maiden joke and every time I write the post title it sounds lamer to my ears. Here is a photobooth-style synopsis of my first pass of pure paint over the ebauche of her hands. I find that it's not necessary to jump in to details at this point. Always paint what's easiest to paint. The cuticles will show up for the party when they're ready. One thing about fingers: every knuckle is in business for itself. Even if your fingers are held straight, each knuckle bone points at a slightly different angle. From hand to finger tip is a slight zig-zag path. Fingers are crooked.
Meanwhile, on the face, I built up a nice thick layer of pure paint on the most prominent areas--the forehead, the bridge of the nose, the ball of the chin, the illuminated areas right below the insides of her eyes. The idea is that light hits these parts of her face the brightest because they are the most prominent, so by making them more prominent with thick paint, I will achieve a nifty painting effect that enhances both the tactile effect of the piece and the sense of the thingness of things. "The thingness of things" is an expression that sounds like it belongs in the mouth of a slack-jawed yokel amateur art lover but in fact I have heard it used by multiple well-educated people who know what they're talking about. It refers to when painters paint the essence of a thing as it is perceived by their brains, not just their eyes. It is the opposite of impressionism and it is one of the things that, if an artist has the good sense to employ it, can make a painting different from a photograph. If you want to see another example of using paint to capture the thingness of things, check out this post.
I have so many more stages to share and the painting is only just about to get interesting, but it's almost 1am and since Dave brought me coffee in bed this morning it is unlikely that he will do so tomorrow. Good night.