Linda Mann Artist

Below is the first quick layer of paint I put on the strap, just to indicate the local colors. I’ll glaze the brown strap darker when this layer is dry because I decided that I wanted to scumble a lighter tone over it to show the light reflecting onto it from the window on the left. Scumbles are thin transparent layers of light-colored paint, rubbed onto a darker base. They have a cooling, lightening effect and produce pearly tones impossible to achieve with direct painting.

Below, is how it looked after glazing the strap darker, letting it dry, then scumbling a haze of a pale blue-gray over it. I’m pleased with the effect. I also painted some of the details of the hardware and the push-pin. This is as detailed as I’ll get for now in this area. I’ll now move on to another part of the canvas, to keep it all developing at the same speed.

Here’s how the mirror looked in the underpainting. I realize now that there was no point in indicating the pattern on the frame, as it’s much easier to paint the frame’s base color, then ‘draw’ the pattern on top after it’s dry. If I tried to paint the whole thing together (pattern and base color), I’d be trying to paint around complex shapes, then when I made a mistake (which is guaranteed), it’d be hard to correct. Alternatively, if I’m painting the pattern over a dry base color, I can keep wiping off my errors as much as I want without messing up the base, Oh, well! I went to a lot of trouble to see and paint the pattern. It’s probably not all wasted effort, though, as I got to know the pattern. It’ll be easier to do the second time.

Below, I’ve put in the local colors very simply, with no effort at detail. As with the handbag strap, I decided that I wanted the frame in a darker value, so that I can scumble over it later to get that pearly tone caused by the daylight coming in from the window on the left.

Below, I’ve indicated some texture on the handbag reflection, glazed in the cast shadow on the bag, clarified the background light tones, and did some corrections on the reflection of the red crystal. I glazed the frame darker, in anticipation of the lighter scumble to come.

I noticed that the sides of the mirror frame were not parallel. How does this go unnoticed for so long? I don’t know, but there always seems to be some mistake. I suppose it comes from being too immersed in the drawing. After I’ve been away from trying to see and draw for a while, errors stand out. I’ve fixed it, below. You can also see an improvement in the painting of the earring draped over the mirror. This wasn’t easy to see or paint. Every time I try, it gets easier. The more paint that is down, the easier it is to compare and correct- the essence of getting it right.