Figure in pastel

Now for the silk sheet that is covering the woman's legs and the largest shapes and lines are painted in first with broad strokes of colour and tone.

The sheet has mainly been painted in with simple large patches of light and dark tones and half closing your eyes will make the lights and darks more apparent to you when drawing or painting someone or something. Notice that the hand curling around her shoulder has only been suggested at this point.

 

Over the dark umber in her hair a dark cerulean blue has been painted over it to make it richer and a more accurate colour. The background colours are becoming more apparent now with window frames, greenery and a curtain painted in. Placement of shapes in a painting with background shapes is paramount in composing a painting. see composition if you want to learn more about composing shapes.

All her back has had a medium cadmium red painted over the burnt umber now to achieve a more accurate tone and colour. Rough highlights have been painted into her arm, ear and silk sheet where more accurate highlights will be painted in later.

A light broad area has been added to her ear into which more tones will be added to define it later. The shadows of her hand from the knuckles to the tips of the fingers have been painted in broadly and flatly with burnt umber.

Into the shadows of the hand the lights go being careful where to put them and here we see light areas to the left and right areas of the knuckles. The ear has been painted in more accurately and I have also added more detail to the background but not going overboard with it because the centre of interest is the figure.
 

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