Painting a painting – Continued – Philadelphia Fine Art. K. Hu art

Just thought I’d pop by and continue my photographic journey through this painting I’m working on.  This is day two…


I’m working here on darkening everything to match the crazy dark background.  I am refining the colour of the eye and separating it from the shadows there as well.  The lips looked ok here but I ruined them by where I am now.  I am trying to make these bigger shapes look smaller and more detailed because everyone loves detail..


There is my “inspiration” wall behind the painting.  The still life is by Bart Lindstrom who I had the pleasure of attending’s short class at PSOA in 2011.  I’m putting in the arms.  BIG BIG shapes.


One thing I learned makes paintings look really lovely is when everything is gradated from the lightest point.  So here I have darkened the arms on their way down from the head, even though it’s not as clear in person, I’ve exaggerated the effect for aesthetic purposes.  Heck yeah.


Slowly painting the hands mysteriously rising from the shadows


Or like, big slabs of colour and value.  Whichever…


I am faking it.  The nails aren’t red in my reference but I want them to match the lips to create a subtle focal point when you get bored trying to find the flaws in the face.  Did I mention that this panel is wicked?  It’s super smooth texture makes the paint really really show up.


This is where it’s at so far.  The awkward angles are to avoid backlighting and to get it in one frame.  This is the largest painting I’ll have done when I finish.

Overall, I am not sure how detailed I’ll get on the hands as I don’t want them to be too distracting (I’m afraid I’ll ruin them.)   I am, however, intending to draw all the little dragons on the dress eventually.  It’s gonna need layers just due to the nature of the panel.  It should look cool.  I promise to spend so much time looking at it that I can’t stand it anymore until a few weeks later when I go “oh that came out pretty good”

Ok that’s all you get from me for tonight!  Have an awesome week!




Clementines and Class information – Philadelphia Fine Art

My next Portrait Painting class comes up September 17 and again in October:

Also contact me for private lessons on the web (yes, I can teach you a lot.)

My next Drawing class in October:

Here is an example of some 4th week student artwork vs. their first week:

Melissa2 k hu pic 2-2

And for your update, here is my finished painting of the clementines:


I am going to write about drawing soon, just getting some materials together to make a cool post.

A little ditty about how I paint – of course some progress shots – Philadelphia Fine Art – K. Hu Art


So here is my wicked awesome panel.  I admit that before this I only used panel once and it was alla prima with no wash and it was very weird and confusing.  This time I did a wash, then painted over it and I looooove it.  Really I am so in love with this panel.  I wonder if it comes bigger than this?  Super sturdy, won’t bend.  I put in the rough outline of where my painting will be.  I need this because I want to make sure I can fit in what I want to say, and it helps me learn my painting well.  The more I draw an image the more familiar I get with what the issues will be, the more I can look at them in the future and fix them in my final painting.

Check out my fresh palette.  I use a piece of gray paper taped to some glass.  Glass is easy to scrape but I have to change the paper now and then when I spill my linseed oil on it (being clumsy, this is more often than I would like to admit.)


Big sexy goops of colour!


So basically in this one, because I’m fully rendering it out, I am starting with just making sure there is paint all over the face.  Faces are my favorite so I start with them.  I want to make sure there aren’t blank spots, because when I go in with detailed rendering those can show or ruin my drawing.  Ok, I ruin my drawing, but I am gonna blame it on the blank spots.


fill fill fill.  Checking out some highlights.  There’s a blank spot where the shadow on the nose meets the nose.


Just fleshing it out more, adding more detail.  The chin I will rework next session.


Ok so this is my final for this session (session… 2 I guess because I did the underpainting but that took under 1 hour so I don’t know if it’s considered one.)  Here you can see my reference.  Yes it’s not quite there yet but it should be soon.  I spent most of my time on the skin tones on the cheeks, which look good, but kinda ignored everything else.


I added the black black background in – I should have done it earlier as now the painting looks relatively light compared to the background.  That’s ok, because I need to add a lot of work to it anyways, but I should have figured that out first.  Normally I do and this time I was kinda hesitant because the dress is black.  Why does that make a difference?  I don’t know, probably just made an excuse because I was too wussy to use my cool giant paint brush.

The size of this is something by 24 I think – It is my largest canvas.  I almost always do portraits on 12×16 so this is a big change for me.  Most of this next series will be on larger canvases than I’m used to because they’re all figurative.

WELL that’s all.  I hope I inspired or helped someone somewhere learn something about painting.  Have a rad evening.