Between you and me, I secretly hoped the course would immediately turn me into a master portrait painter, that there’d be an orchestra playing in the background as I twirled around in front of you with my masterpiece in one hand, paintbrush in the other. Patently, it’s very much a learning process and I concluded that painting layer upon layer of glazes isn’t quite ‘me’, preferring spontaneity and risk-taking for a light, fresh, painterly finish….Oh all right then, it was bloody difficult and I simply don’t have the patience so I gave up!
I did learn heaps of valuable techniques, not least how to paint with a brush in each hand – and my confidence has definitely grown, but clearly, dilligent practise is required.
It was interesting to learn that in all his work, whether portraiture, still life or landscape, Mario uses the Grisaille method of painting – a monochromatic under-painting, which is a useful and accurate process that establishes a map of the tonal values prior to adding colour and helps create the illusion of depth and form.
After deciding not to complete the painting, I had some fun with it using charcoal and pastels, then decided to put it up here anyway, maybe even start a trend for showing failed works?
There are no watermarks on this, what you may be able to see are pencil lines which would have eventually been covered if I’d taken the layers to the end and finished the painting properly.
Not too daunted for once, I’ll have another go at the portrait, using the lessons I’ve learned, but with my take on them – watch this space.
Look out for a crazy grinning woman prancing madly around an easel waving her paint brushes with quite a lot of attitude – that loon would be me.
Ah the hell with it….Cue orchestra!