During the lunch break he agreed to look at some of the work I brought in for him to critique. He said 90% of your problem is the drawing, he was so right!
I found the best friend I had for all 30 paintings was a sound drawing. A mapping of the major points in relation to everything else in the image. No details, just how one shape relates to another.
There are so many things to deal with once a painting begins. It’s like the man at the circus spinning multiple plates at once. The plate of correct value, as it relates to areas next to it, the plate of correct color temperature and hue as compared with the rest of the image, add to this the hardest plate to get correct, the drawing, i.e. everything the right size, shape, place as it fits in the image.
There are a few artists like Richard Schmid and Jeffrey Watts that have such impeccable drawing skills that they can start a portrait at an eye and work outward with supreme accuracy, but that’s not me.
I am changing how I work, spend more time on the drawing and enjoying it. After all how many things can you practice, while you are really creating something of value?