I continued with the adjustments to the hand and started to block in the bowl on the bench top. I was unhappy with the perspective of the bowl and wasn't sure how to fix it. The best advice I could give in these situations is to call in a second pair of eyes as, when an artist is struggling with an aspect of a painting they are sometimes too 'close' to the subject to see it objectively. In this case I called in my wife who pointed out the unusual perspective and suggested that I try to adjust the top of the bowl to the perspective as the foreground figure would see it and not the viewer of the painting which I have attempted to do. I think that it is much better, not perfect maybe, but close enough to make me more content. When it is dry, I shall add the highlights and adjust the tones to make it more 'metal-like'.

 

I have added some subtle tones to the arm and under-painted the table top. The underpainting is a little dark and there will be numerous reflected lighter tones to go over this. I have been a little unhappy with the shape and angles in the hand which is resting on the thumb and knuckles so have painted over some of it with a quick drying under paint. I shall attempt to improve the shape in my session tomorrow.

In contrast to my last painting, the flesh colours are affected by incandescent lighting as opposed to neon and fluorescent lighting. In consequence the colours are much cooler with the exception of some small lit warmer tones. There are two short sessions on the ladies arm but much more tone and detail needed yet to give the hand more form and, also, shadow to be added on the table where the knuckles are resting.

A little shading to the apron and a start to the star pattern on the dress. The 'stars' are very loosely painted as I don't want it to be too rigid in style. The stars follow the slight folds of the dress and I have suggested different tones because of the shadows. I shall accentuate the different tones a little once this first application is dry. I like my work to be realistic, but I also like my oil paintings to look like a painting.

I have added some subtle lighter tones on to the dress in the foreground. They are not the final tones or exact shapes yet but give me a feel for the fabric folds. One advantage of life drawing, is that you can get a 'feel' for how fabric falls over a body. This needs to look correct for it to have authority in this type of work. It is many years since I did life drawing and, my wife and I have discussed the intention to repeat the training. The apron has been blocked in but is not readily obvious as more shades and tones are to be added, along with a suggestion of seams and creases. I will need to adjust the bust line of the lady in the foreground, which is a little high at the top and also the exposed part of her arm at the top is not yet quite right so as to please me. A little work also on the table has been added.

More blocking in, this time on the clothes of the figures. There is some satisfaction in seeing the block-in shapes, but they will appear more dimensional with the addition of subtle colour changes according to the light source. This painting contrasts with my previous oil work which had a great vibrance of colour. The tones in this work are much more subtle and 'Earthy'. The subject, whilst fortuitously inspired when in New York in 2013, reflects the apparent popularity with cooking and cooking TV shows over the world.

I find that the least enjoyable part of painting, for me, is the underpainting. After all, it is just a background on top of which is applied all the different tones that give a painting 'life'. It is necessary, but the rewards at the end make it worth the effort and consideration.