Sequential shots of a painting...

[k4pka]

For what its worth. Click the image to read about it :-

http://portfolio.kapka.co.uk/images/misc/rosetutoriallink.jpg (http://figuresandmusings.blogspot.com/)

[Seedling]

Awesome! Thanks for sharing that!

[the_allejo05]

kapka.. nice work..hmm you have very strong drawing skills..If I may critique your work..
I love Sargent's work (I see that you like him) especially his impresionistic lively colors , more than his sketchy drawing hehe;),
he trained extensivelly in the sight size method, thats why his tendency is to follow a tonal approach and a bit more realistic than other famous classical artists, I dont know if you have done this training , (you dont need to go to a classical school, a set up at home is fine)it will push you seeing more delicacies in tone..although you already are very well advanced (i have seen your nude drawing), but going back and forth between the easel for just a brushtroke and pushing your graphic memory will help a ton.
Also he used black..everywhere..and i think thats what is missing in your paintings..that beauty of contrast between black and colors (pure black,not made up of colors, listen to Manet :))..also you can exagerate your delineation of things..he did..you can see it clearly in his drawings..(he is following the tradition of disegno so you can see the paintings well from a far away distance) I see too many lost and found edges hard to read...where things are in space...
Also if you want to give your figures a more grandeur style and simple approach of form..study classical sculpture...he did knew his sculptures..and the softer tonal ranges it produces on that white surface..thats why he has a tendency to elongate his portraits..and beautyfy them ..going away from Mere reality...and touching on imagination.. and finally there are too many straight lines..I know sargent leaves them but if you really look they are not that obvious..embrace the curvature (yes start with straight but try to conceal them).

[k4pka]

Thank you for the food for thought allejo.

J'adore Sargent's work! I must admit however that I wasn't aware of his extensive training in sight size, especially as a lot of his work is often larger than life size (which is not possible to do with sight size for obvious reasons). I have never personally worked sight size, except a few times where my drawing has turned out to be approx sight size in my life drawing classes. I am unsure if dedicating time to this method will benefit me in anyway? When working from life, I have not the time to study the tone in any serious scrutiny, else I will not have a drawing done before the model leaves to catch the bus...

As for black, I am inert on that debate, as personally myself, I have never found the need for it. I am aware however that Sargent said he couldn't paint without it. As such it is certainly something for me to look into.

As for lost and found edges, that is something always at the forefront of my mind when painting. I am of the personal belief that edge play is a phenominal tool we painters have. Unlike the non-discerning camera, we can pick and choose how our edges are, in accordance to our desire. Edges, I believe, also place the subject in a believable atmosphere. As such, I would be unwilling to harden my edges indescriminantly, preferring instead to use them as tools to draw your eye around a picture.

About the grandeur style. I think that is a fantastic point, and can naturally see it in Sargents work. However due to me teaching myself at the minute, I am preferring to use my time with the model to improve my abilities to record exactly what I see. (I wish to add that I do NOT mean in a photographic way.) I feel that if I have the means to reproduce what I see, I can use the skills to exaggerate/alter my perceptions to my desire later on. Exaggerating forms at this stage, I feel, will only result in me forming bad habits in my drawing accuracy, at this early stage in learning how to draw and paint.