See that face? That, boys and girls, is called 'losing the drawing'. Also, at this point, I had no idea what was going in the wicker ball; also also, I had no real clue what my value structure actually was.
I threw a dead bird in there because it seemed like a good idea, and painted out the eye, and knocked out some more of the orange, and started on the wicker. Can we talk for a second about how absolutely stupid it is to paint front-to-back with something like a wicker ball? Especially since I didn't even have what we'd be seeing through it referenced or drawn. God.
Well, enough of that horror show: time to repaint the face and deal with that window.
The hair was terrible in shape and feel, and I finally accepted this and started to paint it out to redo at a later time. However, the shape I wound up carving out was right, somehow, and so I stopped.
The face itself still needed work. I also started in on the background, with some better color and value, but still not quite correct on either count.
There, that looks a lot better, doesn't it? At some point in this mess I referenced, drew, and painted in the arm and part of the midsection that one could see through the wicker ball.
I was absolutely and truly furious about the way I'd painted in the hair, so I backed away from it until I could look at it without seething.
When I came back, I decided to avoid the problem areas and work on something I knew I could execute well: hands (and flesh).
I like hands~
Hands, I know I can execute. They require care and proper effort, but I can rely on my own ability and that is a comfort.
Comforts like that are necessary when throwing myself against, say, some deeply uncooperative hair.
Time to step away from the hair again so I can work her clothes up from their first pass, finally. (value structure? what value structure?)
Oh, that value structure.
Now that I figured that out, time to second-pass the wicker ball, because the flat colors the first time around aren't... okay.
At this point, I liked the face and the hands and hated the rest of the painting. Or, well - I was bored by the rest of the painting, and furious at how long it had taken to get so close to the end, and how at a loss I was for what to do to it to make it interesting.
So, in a fury, I threw pure cadmium red on my 000 brush and went to town.
As it turned out, it was exactly what I needed.
I did so much wrong, and took the long way around so many times, that it's more than a little frustrating to look back on. But it came out in the end, and what I achieved in spite of myself is something to be proud of - and to learn from.