This was done on a black canvas, so the cast shadow is actually unpainted. The lights were painted in Hansa Yellow, but then I came back with some of my silver and gold metallic paints from Lascaux.

This was done on a black canvas, so the cast shadow is actually unpainted. The lights were painted in Hansa Yellow, but then I came back with some of my silver and gold metallic paints from Lascaux.

Over Black Friday, I bought access to a handful of online classes at Kara Bullock Art. One was the “Terrific Trees” class by Kim VanDerHoek.
I ‘m working on painting pine trees, so I can make some Christmas cards on a Christmas tree theme. The tree on the left was painted on a 6×6 canvas panel, and is based on Kim’s class (a follow-along).
The tree on the right was painted on a 8×8 black stretched canvas. The shadow of the tree is unpainted; I’m just using the black of the canvas.


As with the work done in this earlier post, I did another follow-along/demo portrait from Hashim Akib’s book Painting Portraits in Acrylic. I bought some student-grade acrylics (Amsterdam brand) since this is merely practice. The background was toned in a Quinacridone Rose (PV 19) as directed, but I drew out the figure using willow charcoal. As for the skin colors, again I followed along mostly: the primary skin colors are burnt sienna, orange (PO 73) and yellow ochre (PY 42).
I painted the folds on the scarf using a palette knife; I did not go back and add touches of a pinkish yellow white representing sparkles reflecting the light on the scarf. Maybe later.
Her lips should be pinker and darker; the top of the scarf away from her head should be darker and bluer.

My last few works — a portrait and a “portrait” of the Asaro head — have been in the cartoon realm, so I’m skipping posting those for now!
Instead, I found a video on YouTube that walks you through drawing the “Loomis Head” and converting it (for lack of a better term) to a planar head (what the artist calls the “memorized Asaro head”). After watching that, I drew the planar head on my 8×10 canvas with willow charcoal.
What I discovered in my failed attempt at painting the Asaro head is that the color Ivory Black is fairly transparent, and doesn’t cover well. I ended up going to Michael’s and bought some Mars Black from Liquitex Basics. It’s student grade compared to the artist grade Ivory Black, but wow, what a difference!


Anyway, here’s the Asaro head done; sage green for the background.


Below is a copy of the reference photo I used to paint, as well as a close-up of my value changes. In some cases like the upper lip, the value change is too abrupt, while in other cases there’s not enough of a value change. I’ll have to keep practicing.


Back in February, I bought the British artist Hashim Akib’s book Painting Portraits in Acrylic because I liked his portrait style, and because he uses acrylics. Included in the book are 6 exercises, and the first one is in monochrome.
I had earlier toned a 9×12 with a pale blue (ultramarine and white) so I just used that.


Drawing eyes is not the same as painting eyes! (I think I can draw them better than I can paint them.)
The first eye is from the head-scarf lady (with the highlight added). The second painted eye is from another PaintCoach Patreon tutorial. The drawn eyes are from the Draw Awesome online class I took in 2022.



I did this work in acrylic on a 6×6 canvas board that I added a layer of acrylic gesso to before I started.
In doing this “still life” (for lack of a better term) today, I scored a victory of sorts. I only used the 3 primaries (lemon yellow, alizarin crimson, and ultramarine blue) plus titanium white. And I got all those different colors! I’m finally moving forward on the journey of intuitively mixing colors! Cheers!




Paint Week 2023 is going on this week, and the subject to paint is a kayaker on a river lined by mangroves. Although I’m working on a portrait tutorial by the same teacher, I took some time out to paint the landscape on a 9×12 canvas.
The subject didn’t particularly excite me; that’s probably apparent in my results. I find the value map helpful as a concept, but painting-wise, the burnt sienna underpainting shows through too much, which I don’t like. Maybe if I were using oils it would work better?


This is the first human figure I’ve painted! Yesterday, I said this was a 9×12 — no, it’s actually 11×14, which is the biggest canvas I’ve painted on so far.
I’m actually fairly pleased with this. And I’m including a work-in-progress photo, because I changed a lot of the colors.

