“A Study of The Painter’s Hands” and its development.

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A Study of The Painter's Hands
9" x 12"
Oil on birch panel

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Greetings fellow Steemians!

In this post I thought I would share my latest painting of a study of my own hands and discuss its process/development.

So before I was going to transfer my block in drawing, I first decided to tone the panel’s surface with raw sienna.

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After I transferred my armature drawing, I then sealed it with ink and then began to proceed with laying in the shadows/darks.

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Working in a very tight and direct manner, I progressively aimed towards a final finish as much as possible before moving on to connecting the adjacent forms.

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As I continued to work in the shadows, I kept into consideration to have them remain “hot” in temperature, and to render the core shadow’s terminator line (the forms coming out of the shadow) to be cold but neutral.

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As I finished the first pass on the first hand, I then began to finish massing in the adjacent background with a mixture of titanium white and ultramarine blue.

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..I then continued to somewhat fill in the surrounding background and with mixtures of ivory black and venetian red started to fill in the predominant shadows of the left hand.

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As you can see in the section between the thumb and index finger, in the methodical approach of tiling I made sure to extend the cold but neutral midtones out of the core shadow, proceeded to render in the local color of the form, and increasing in value as I turned into the light.

As a side note, I’d like to point out that I treat all forms in this way. Just remember, that in a sense everything is a sphere.

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..Working my way up to the fingers, I made sure to keep those lightest of lights as opaque as I can.

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...Aaannd it's finished!

The palette I used for this painting was once again what I’d consider a minimal palette. I used titanium white, yellow ocher, venetian red, ultramarine blue, and ivory black.

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Please feel free to let me know what you think?

Thanks for reading Everyone!

-James Hansen

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