29/10/18 New portrait of Mother Meera. Using a high quality picture, it has taken me a week to draw Mother Meera on the canvass. I choose not to trace the image as I see the drawing as an integral part of the painting process. I use a water soluble pencil for the drawing, helping to omit any errors. For the first layer of paint, I used mainly a monochrome palette of burnt umber, burnt sienna, raw umber, and Naples yellow to capture the light and dark tones of the portrait subject.
30/10/18 I have started applying colour using rich shades of magenta, rose madder, and alizarin red, to paint Mother Meera’s beautiful sari.
7/11/18 I have blocked in the first full layer of colour. Just some fine touches needed to fully complete the first layer. Then the difficult work begins.
27/11/18 Have begun the second layer of applying colour. The sari just needs refinement so I can now focus on the challenging part in rendering realistic skin tone. I have started to define the chin and lower part of the face.
10/12/18 The second layer of paint has now been applied. At this stage, most of the placement is accurate which will now allow me to fine tune the painting. The skin tone will be the most challenging area for me fine tune as I wish to achieve realism.
21/1/2019. Slowly the portrait of Mother Meera is taking shape. Have now completed the third layer of skin tone. This has been a long project with many challenges.
30/1/2019 Third layer of painting completed. Have worked on the lips, eyes, and background. The painting is really starting to take form.
27/5/19. I have completed another skin tone layer and in particular have worked on refining the eyes, background colour, and hair, so just some fine tuning then the painting will be finished.