Again, not a true colour representation as there is some reflected light on areas of paint that are a little glossy but it can be seen that I am adding texture to the background. Whilst it only covers a small area at present, it will make more sense once the entire background is complete. Even when covered, there will be small refinements in highlights and overpainted lines.

 In the first session today, I added some form to the left of the garment. It may not be at the finished stage yet, but I shall leave it for now.

The colour of this shot more closely resembles the actual colour of the painting, whereas, in the one below, I feel that it appears a little lighter than in actuality.
I will also adjust the angles on the arm, which at present does not appear to be in scale.

In the second session for today, I added some background texture and colour. As I want to accentuate the feeling of movement, the background will only be in suggestion form, and not in full focus. The warm tones are the bricks of a wall belonging to a building at the side of the canal in Venice. The green tones are fabric on the side of the gondola in which we were travelling. There will be a little more refinement to the definition of these areas, but not enough to be in focus. The angle of the smudges of colour suggest a movement to the right of the painting.

The torso blocked in with only a suggestion of shape. I shall add darker tones and refine the shapes in another session but the pose is beginning to make more sense.
I am still in two minds whether or not the blur the images to suggest movement or to have complete focus, as is my usual m.o.

This will not make much sense at the first stage. some areas are black and some a dark navy blue. The shape at the top is the sleeve of a cardigan on the elbow which is resting on the ledge of a gondola. I am thinking of leaving the figure until I have completed the background. I think that, as a friend said recently, I am being brave painting a portrait of my wife. I might agree!
The consolation is, that it will be done with a very large amount of love and a modicum os sensitivity.

Again, very difficult to see, but the main points are sketched in and I am ready to start painting. Her face does not have an identical representation of her at this stage, but I shall make some adjustments as I paint, and add the tonal qualities, which I hope will improve it. We shall see.

I have begun to outline my next oil. A portrait of my wife. It is difficult to see the pose on this photo, as I don't like too much graphite mixed with the oil paint as I paint. I have yet to add features which, of course, have to meet with the approval of the subject and yet be true to life so that it is a true image of her. I shall blur some of the edges and paint a largely nondescript background as the pose is taken from a ride on a gondola in Venice and I want the feeling of movement and not a static shot.

The invitation event for our 'Christmas in July' went well with 25 or so guests enjoying the social afternoon of art. We had many friends and colleagues who brought their friends new to out little home gallery which made it a special time.
Now that it is over, we are considering opening the gallery to the public on a regular basis, once a month for a couple of hours at the weekend. It would be advertised in local press only as we are not an official commercial premises, so it would be under the auspice of a 'visiting friend'.
I am now giving some focus to my next painting. I have the watercolour underway in the early drawing stage, but my heart is on painting another oil portrait. I have two in mind, a companion painting of my grandson with material from the same session that my last one was sourced and one of my wife. With the latter, I am considering less focus than in my other oils. It will still be 'realist' in style, but with less, or no, hard edges. The intention of this is to create a feeling of movement. New paintings always excite me and this is no exception. Watch this space for future progress.