- Working with a toned canvas, toned to the common denominator midtone of the composition
- Decide on center of interest and work it up a bit before working up surrounding areas
- Notice and paint value and temperature, with special emphasis on darkest darks, lightest lights
- Manage the amount of paint I apply, from slurry underpainting to dry brush to juicy
- Always be willing to correct drawing errors
- Application of practiced variety in brushwork
- Discussion of composition decisions and effects
The wooden mask in this still life came from Japan, where Thomas' father got it in WWII. A non-face face to work with, so interesting! Can you tell from my painting that my center of interest was the left eye?