Either I follow the process – or not


I have begun the Red Madonna Queen of the Cosmos painting.  Which was scheduled to be done on each of the thirteen full moon throughout the year – but I’m doing it weekly through the end of the calendar year.  I delayed because I was participating in Shiloh’s Legend class for the first six months of the year and I didn’t have attention for both.  Then I delayed beginning further because I started study at Watts Atelier.  But I do want to finish it this calendar year and suddenly the time to begin was upon me.

I pulled out a large 30×40 canvas.  I set up the studio.  I dived right in and applied a clean coat of gesso.  Then applied a coat of blue (because I knew I wanted this painting to be primarily blues).  Then I started accumulating inspiration, ideas and considering techniques.

And then I watched the class videos for the first moon.  Yeah, backwards.

Now that I’ve finished these first class videos I realize that I need to either put my whole self into this intentional creativity painting process – or not.

I can take the theme ‘Queen of the Cosmos’ and just run with it.  Or follow along with Shiloh’s intentional creativity process – which gets me to the same place but with perhaps with a bit more dimension.  I mean it is either a Shiloh painting – or not.

A Shiloh painting requires me to slow down.  To pay attention.  To listen to my inner self.  Perhaps that’s why I squirm.

I’ve decided this is a Shiloh Sophia Intentional Creativity painting – and I’m following the process – interpreting it a bit for myself.

Two words came to me early on when I contemplated this painting:  GRACE and SPACIOUSNESS.  Interestingly enough both are leading me to slow down, pay attention, and see what happens.  No skipping the squirmy parts or racing to the finish line.  Think tortoise.

Tortoise my symbol for this painting journey.  Interestingly enough the turtle is associated with the lunar phases and has thirteen segments to its shell.


A new plan


I spent my Studio 15 this past day revising (of course) my plan for the last quarter of the year In The Studio.

This one reflects diving right into painting Red Madonna Queen of the Cosmos – which will require the remaining weeks in the year to complete.  In preparation I applied a coat of gesso to the canvas – a nice clean surface to begin with.

This revised plan also reflects my new approach to Watts Atelier study – where, after a marathon of watching all the class videos for Head Phase II, and making copious notes, I am dedicating the month of The Big Draw to completing the drawing exercises (the list of exercises is attached to that pink post-it note).  One month may or may not be enough time especially considering that I’m throwing in some feature anatomy studies for the nose, eyes, ears, lips as well.

So here we goooo……

Setting up the Studio


Friday’s Studio15 (fifteen minutes in the studio, or more, this took more) was spent setting up for the Red Madonna Queen of the Cosmos painting that I will begin this weekend.

That required pulling out a large 30×40 canvas, moving the drawing board to the lighter easel, adjusting my Lobo easel to hold the canvas in landscape.  And then, of course, one thing leading to another, rearranging things all around the room – how do things get so cluttered?


Then I set up my art horse to use as a table, because I just don’t have enough flat space!  Here are the pages I want to put into my Artist Diary – two library books – the Drawing magazine I just bought – the Strathmore journal I intend to use for my head/features/anatomy studies.  Finally a place to spread out.

Artistic Action Goals for Growth #2

Frantisek Kupka

Frantisek Kupka “The Yellow Scale” 1907

A little bit of artist inspiration to introduce my October Artistic Action Goals.  Kupka (1871-1957) had a strong interest in color theory and even began creating his own color wheels.  I just love his use of the various shades of yellow in this self-portrait.

Before I share my October Artistic Action Goals let me review my AAGGs for September:

  • Begin an Artist Diary for 2015/16 
    • done, see post
  • Watts Head Phase I:  Complete 2 sections: Nose and Eyes
    • Watched ALL Head Phase I videos and made notes
    • see post
    • also decided on curriculum see sidebar
  • READ:  Aristides book on Classical Drawing (2 Chapters)
    • Intro and Chapter One – plus research for a post
  • Watch artist videos on drawing features, particularly Proko 
    • done, see post
  • Draw at least 2 Portrait Practices
    • later
  • Write a review of what I learned (am learning) from Watts
    • later
  • Head Phase I into Artist Diary
    • later
  • READ:  Badonsky book up to 1st Muse (Arnold, the bodyguard) 
    • done – actually 9th Muse – Marge – beginning at the end – see post

Unplanned Actions:  

  • Selected the perfect sketchbook to use as a Facial Anatomy Sketchbook 
  • Shiloh Sophia free Equinox class WEAVE (9/27)  see post
  • Purchased 2 art magazines – Drawing and Acrylic Artist
  • Got brave enough to ask Connie at Dirty Footprints about mentoring (see upcoming post)


  1. Begin work on Red Madonna Moon painting – weeks 1-4 of 13
  2. Complete drawing exercises for Watts Head Phase I
  3. Complete anatomy feature studies for eyes, nose, ears, lips
  4. Read Aristides Chapter Two
  5. Discover second Badonsky muse
  6. Review “Color for Painters” by Al Gury (checked it out of the library, see if I want to add it to my art library)
  7. Review “Painting People (figure painting today)” by Charlotte Mullins (also checked out of the library in curiosity)
  8. Review new magazine Acrylic Artist and Drawing

For a change I’m not beating myself up about what I didn’t get to, actually I feel good about the past month.  Progress!  I think it is important to capture my intentions, large and small.  Then see what happens.

Return to painting….

Being Abundance July '13

Being Abundance July ’13


This is my very first Shiloh Sophia painting.  And oddly my favorite.  She came out of the blue this smurf blue muse.  Sometimes I’m not sure I’ve improved over time.  Sometimes I think maybe I’ve lost something over time.  Perfection stuck her oar in and the loud nagging of the Internal Critic drowned out the soft still voice of my Inner Muse.  I want to recapture that early bliss – which, yes, was a kind of ignorance.

Beginning in October and extending through the end of the calendar year I’m going to begin painting again with Shiloh Sophia – The Red Madonna Moon painting.

The Red Madonna painting was intended to extend over the full twelve months, thirteen full moons, of the year.  I’m going to condense that time, the process, down to twelve weeks, the final twelve weeks of the year.

I was intending to take a couple of Shiloh livestreams prior to beginning the Red Madonna Moon painting cycle in preparation.  But honestly I don’t have quite as many weeks left in the year as I thought I did.  I need 13, weeks for the Red Madonna painting, and there are just enough weeks left in this year if I start now.

So next week I will be diving right into the Red Madonna painting.

I will not be taking any other classes, however alluring, beforehand.  I’ve got to quit this trying to fit it all in.  Yes, I think I’m showing signs of improvement in my whole self choices.  Getting more realistic anyway.  More gentle with my artist self.

The Big Draw October 1-31, 2015


the big draw

The Big Draw happens every year in the month of October.  This drawing campaign started in England and has expanded internationally – a great idea will do that.

I have set out to participate every year since 2008.  Some years I’m more successful in sticking with a regular drawing practice than others.

This year I’m intending to focus during October on my Watts Atelier drawing homework from Head Phase II.  I have just finished a marathon of watching all the Head II class videos and collecting notes.  I now have four exercises to complete for each feature – plus whatever I do on my own to expand my learning.  Then there are 2 cast drawings, capturing several stages of the process for submission.  Finally drawing from a photograph, again capturing several stages for submission.

That’s my Big Draw.

In November I will return to Watts and finalize Head Phase II and begin Gouache I.

I’ve been looking at the recommended curriculum and based on this the order classes should be taken are as follows:

  1. Drawing Fundamentals I & II (drawing)
  2. Head Phase I (drawing)
  3. Head Phase II (drawing)  IN-PROCESS
  4. Gouache I (painting)
    1. 4 paintings – 2 black&white, 2 Zorn palette
  5. Portrait I (painting)
    1. 9 paintings – Monochromatic – Skull/Asaro/Cast each done in Profile/3quarter/Straight (a refresher of Head I and II)
  6. Gouache II (painting)
  7. Portrait II (painting)
  8. Head Phase III (drawing)
  9. Gouache III (painting)
  10. Portrait III (painting)

This is leaving out the figure, landscape and still life classes.  I’m going to focus on the head.  I’m exercising my whole self choices.

WEAVE with Shiloh Sophia


This is the sketch created with Shiloh Sophia during her WEAVE class Sunday night.  A weird little onion head self wearing her right brain/left brain and her heart on her sleeves (so to speak).

Processing her choices through her heart, through her right brain and her left brain – connecting with her whole self to make the choices from which she’ll weave her life.

What will those choices be?  What are those choices that most resonate and raise her vibration?  And always always radiate love.

I’ve chosen three things to focus on through the remainder of this calendar year.  Only three.  One of these is a big all consuming thing, the midsize one I continuously putter about with, and the littlest one kinda gets lost in the shuffle.  Just like Goldilocks I need to choose and give my attention to that littlest one as just right for my whole self.

Hit my two-hour wall..


Two hours of attention is all I can manage.  Since the Cast-Male class is 2hours long I decided to watch the Cast-Female and Drawing from Photograph which together totaled 2hours.

This time I captured a few screen shots to add into my notebook.

I was curious and find that classes at the Atelier run 3hours, I suppose with a break in the middle.  I began to wonder how I’d made it through college, so I looked and classes are generally 2hours, twice a week.  Well, that explains it.

Watts Class Marathon


It feels like a marathon.  I’m finding that 2 hours of intense attention is about all I can manage before I begin to fade out.  I re-watched Nose and then finished the features with Ears.

Tomorrow it will be Cast Drawing – Male/Female, Drawing with Photo.

I now need to recover because I have a livestream with Shiloh Sophia in a few hours.

Shiloh WEAVE

A full artistic day.

Watts Atelier – Attending Class and Taking Notes


I have decided that I am going to spend the remainder of September watching all the classes of Head Phase II – making notes, copious notes, imperfect notes (gasp).  Note taking is something I don’t always do… and I should.  I’m even going back and re-watch the Nose class in order to take notes.

Then I am devoting October to drawing all the exercises for each class that I watched – there are 3-4 exercises per class.  Plus adding supplemental education to expand my learning – which will lead to a few more drawings.

Then come November I can turn in all my exercises and will be ready to move forward with Head Phase III or Gouache I.  I have been told that the gouache class does help to teach face mapping, which will be used in the multitude of sketches in Head Phase III (76 of them! I counted) and so is recommended it be taken first.

This approach is different then what I have been doing – which is to watch a class, then do the exercises, then submit them, then wait for a response (usually at least a week), then redo any that require it, submit and wait…. all before moving on to the next segment.  Which is very inefficient – wastes a lot of time (and ultimately tuition expense).  And gives more time for resistance to set in!

These are the classes in Head Phase II:

  • Eyes
  • Lips
  • Nose
  • Ears
  • Cast – Male
  • Case – Female
  • Drawing from a photo

It will be necessary for me to practice the skills I (hopefully) learned in Head Phase I, lay-ins and mapping – front, three-quarter and profile.

I attended Eyes and LIps today – tomorrow Nose and Ears – Monday the cast drawings – Tuesday drawing from a photo.

Juliette Aristides…

I bought her books long before I ever thought I’d begin atelier training.  They’ve been sitting on the shelf.  I had already pulled her drawing books out to read when I discovered that Watts actually recommends reading Aristides book when you get to Head Phase III.

After reading the first section I researched some of Aristides articles online and captured some of her wisdom to share:

Representational painting appeals to the eternal qualities of a human life. As more and more of life is spent on-line, painting is a celebration of the real. As John Berger wrote: “More directly than any other art, painting is an affirmation of the existent, of the physical world into which mankind has been thrown.”

Beautiful paintings are a confirmation that there is no ordinary life, anywhere can be significant if you have eyes to see it. It is one of the most efficient communication tools ever invented connecting us across millennium, cultures, and genders into a quiet communion. Representational painting is an oasis for deeply human concerns, providing a source of reverie, thought, beauty and consolation. I don’t believe it will ever disappear.

For Aristides, tapping into the time-honored language of classical art allows her to engage with something beyond herself and her moment. “I think of classicism as a love of continuity and a celebration of the physical, tactile, human, quality of our lives,” says Aristides. “In classical art the ordinary is elevated to the extraordinary. There is a striving for something that lasts — a goal that is powerful in a digital age in which much feels ephemeral and shifting.”

In her view, representational art has not less, but more than ever, to say to our 21st-century culture. Precisely because of the continuity of the classical art tradition and painting’s ability to outlast ourselves, it forms a desirable alternative to the maelstrom of fleeting images we experience today.

“Representational art gains relevance in our age of unprecedented change,” explains the artist. “Art helps us contextualize our lives; it provides continuity, giving a sense of history and our place within it. Paintings have always been pictorial essays on the fact that human beings are more than their work. It is an appeal to both a fragile beauty and a larger meaning — a powerful and relevant message today.”

Adding dimension to my study…

Proko was a student of Watts Atelier – and I think is an instructor at Watts.  He is very generous with his knowledge.  I enjoy his style of teaching – very informative, very understandable, presented with a wonderful sense of humor.

So I thought how better to add dimension to my Watts studies then with an instructor familiar with this style of drawing/learning.

I’ve watched his video on nose anatomy and structure and watched his video demonstration of drawing a nose.

Next, I’ll practice the drawing myself.

I think I’ll complete my Watts exercises first – I have the three quarter nose exercise and the exercise on nose anatomy to complete.

The Nine Modern Day Muses….#9


Artemis, Michiel van der sommen, sculptor

I was In The STudio and picked up the book “The Nine Modern Day Muses (and a bodyguard)”.  It is on my list of Artistic Action Goals for September to read it…. but I just wasn’t feelin’ it.  Still, I picked it up and flipped through it and ended up beginning at the end and reading about Muse #9 – Marge – the muse of “Ok, now let’s get started” – aka, the muse of fighting resistance.  Which it just so happens is the perfect place to begin!

The author named this muse after the character Marge Gunderson of the movie ‘Fargo’ – all no-nonsense Midwestern attitude (and pure feminine strength I might add).  She also envisions Marge like an archer aiming at her goals.  I see one of Marge’s guises as Artemis, the archer – a very no-nonsense and strong yet feminine goddess.

And this reminded me of a poem I wrote last year, when I was feeling as if I missed my mark all too often:

My Little Archer

simply correct your aim
you are not broken nor flawed
merely missed the mark
return to wholeness

you are not broken nor flawed
only lost in confusion
return to wholeness
allow your light to shine

only lost in confusion
merely missed the mark
allow your light to shine
simply correct your aim

Rebecca for Elul 2014

I liked this chain of events cited in the book, which sounds all too familiar:

unreasonable goal = overwhelmed = less chance of doing it = less chance of reaching the goal = overwhelmed = “oh, just never mind” = absence of creative joys = crankiness and disillusionment

So what is Muse Marge’s advice:

  • START SMALL – BREAK IT DOWN VERY SMALL – infinitesimal even – and every little thing counts

I already know this works – like the other day when I practiced an old resistance tool I’ve discovered of telling myself I’ll sit down and make just one mark, one line, on the page – of course once I got started I couldn’t stop.  Almost always works.

Those times when I go in the studio and rearrange things, or set up my art table, or sharpen my pencils, or hunt down an eraser – or even just sit and enjoy the light that enters the room – they all count as small steps toward my goal.

  • TAKE JUST FIFTEEN MINUTES – this can fit into anyone’s schedule.

If I spend 15minutes every day for 21 days In The Studio, whether I feel like it or not, no matter what I do, I will have developed a habit – a positive art habit.

I’m reminded of several artists who agree with Marge:

Chuck Close – “Just show up and get to work!”

Picasso – “Inspiration exists, but it has to find you working.”

Van Gogh – “Great things are done by a series of small things brought together.”

  • My favorite Muse Marge Affirmation:  Okeedokee, I’m getting started now.  

Well alrighty then – so it is.

Nose #2


Finally, finally, yesterday I forced myself to sit and drawn.  I had to tell myself that I was only going to draw a single line – of course once I made one line I couldn’t stop.  I’ve no clue why I hesitate in the first place.  Why do I resist?

This is drawn on mixed media paper with the Conte charcoal pencil.  I found the paper is a little rough for the charcoal pencil, gives a pebbly texture.  I must admit smooth newsprint does give a smoother finish and allows for more subtlety in shadow.


Terribly good with a plan…

ArtPlan2015webnot terribly good at follow through…

Still, I make plans.

I have planned for the remainder of my calendar art-year.  I wanted to try and realistically (or as realistically as I get) identify what I can hope to complete through the end of the year.

I’m being ambitious.  Wanting to both paint and to draw.  Considering how difficult is to get myself to the drawing table…. I am nothing if not optimistic :).

There is no plan going to get me there.  And I have a feeling my muse is looking at bit like this muse4.

Still… here goes.

September Artistic Action for Growth

Artistic Growth3

I found this image by an artist named Nightingale.   It perfectly captures what I want more of in this new year – Artistic Growth (and the encouragement to take action towards it).

September 14th marks the beginning of the Jewish new year – and a new moon plus a new month – perfect timing.

I have been reflecting on some annual goals for this new year of 2015/16:

  • Watts Atelier, from drawing to painting
  • Include art classes from other artists for variety
  • Attend at least one live in-person art class or workshop
  • Portrait Practice, pRactice, prActice
  • Art reading and study and learning from the masters
  • Experimentation

As for September specifically:

  • Begin an Artist Diary for 2015/16
  • Watts Head Phase I:  Complete 2 sections: Nose and Eyes
  • READ:  Aristides book on Classical Drawing (2 Chapters)
  • Watch artist videos on drawing features, particularly Proko
  • Draw at least 2 Portrait Practices
  • Write a review of what I learned (am learning) from Watts Head Phase I into Artist Diary
  • READ:  Badonsky book up to 1st Muse (Arnold, the bodyguard)

Let’s see how I do….

My Artist Diary for 2015/16


I have decided to use a 3-ring binder for my Artist Diary this year.  That way I can add journaling, my goals for artistic growth (more about that tomorrow), inspiration images and ideas, and actual drawings or even paintings (that will fit in an 8.5×11 binder).  I created the cover above with just a variety of images that caught me eye – each meaningful in its way.


On the inside I’m using monthly tabs and using the tab pages to create a memory collage of what I’m reading or doing that month.  I also have some additional tabs for all that extra stuff that I manage to accumulate and usually scatter all over the Studio.

One place to capture my year.  I’ve made a couple of attempts at this before – I think the first year I fully completed an Artist Diary was 2013, most years I start one and then it gets lost in the shuffle.  Not this year!

New Art Table Configuration


I generally do my Watts drawings while standing at the easel. Sometimes I don’t feel like standing so I sit on the chair in my Studio and balance drawing tablet and reference image on my lap – which honestly is not working.  It is awkward to juggle this rather large drawing tablet and keep my reference image where I can see it – and then there is the matter of elbow room, nonexistent.  It also skews my perspective.  While this might work for small drawings it does not for larger works.

I decided it was time to set up my art table for drawing so I can sit and draw.  I have an art horse which ought to work for this but it just isn’t comfortable.  I decided to use my drafting board on the art table – this way I can use a drawing tablet or a single piece of paper.

I had the tabletop set high so it wasn’t necessary to hunch over when working flat, which gives me a neck/backache.  But when I put my drafting board on the table it was too high for drawing.  So I lowered the art table and now I think it will work.  Still to be tried out.

I have attached the reference image holder – which Watts gives instructions to build – and this time it is in the proper place (at the easel I attach it to the side at eye level).

So I have pencils sharpened and erasers to hand.  I still need to do some rearranging/clearing of the table top but it is now ready for drawing.

Muse Gladys hangs overhead from the Ott light – providing encouragement and a little art magic :).

Some Shiloh Sophia…


I am currently still studying with Shiloh Sophia via her Red Madonna group – one painting worked on for the full year. Granted I have not participated monthly but am intending to begin in October and proceed weekly (finishing by the end of the year) rather than monthly.  A rather intense end of the year to be sure.  But since I was participating in her Legend class the first six months of the year there just wasn’t space for more.

There are two other classes she has recently announced that I’m interested in – the one above, Blue Muse, which is this Sunday.  I won’t be taking it on Sunday, rather in October.  Besides I love Modigliani, remember my faces last year?

Also in October is a class with Shiloh and Chris Zydel called Luscious – that I probably will take on the day, October 9th.  A good beginning to my year-end Shiloh process.

luscious class

I think it is good to mix things up.

Evolution of A Nose


I’m up late at night working on that darn nose!  I just wasn’t happy with it so I kept fiddling and fiddling and fiddling….  You see the entire evolution above.  I can’t believe I’m sharing with you all my imperfection.  The poor paper is the worse for eraser wear.  The one I posted yesterday was the fifth version – I went on to the ninth version.

I looked back and found that I have done only a very few profile noses, the majority of my faces are frontal or three-quarter view.

Angles…. I really have to learn to measure angles.

Here is the original and the final side by side:





Head Phase II

Nose#5webI’m now moving forward with Watts Head Phase II.  Phase II is all about the features: nose, eyes, mouth, ears.  Here is my first (of four) exercises.  I’ve had to quit because my eraser has damaged the paper.  I used graphite rather than charcoal.  Next pose, frontal, I’ll use charcoal.



I have successfully graduated HEAD PHASE I !!!  This is a major milestone.  I have now completed Watts First Term!


It has taken me 4 months – May/June/July/August.  17 Weeks.  A bit more than the atelier 10 week term.

This was graded much more quickly then I expected, submitted today – graded today!  There were a few comments which I took the time review –  making sure that my eye can see what they’re talking about.

I still need to practice – a lot!

Now I’m on to HEAD PHASE II which involves drawing the features of the face: noses, eyes, ears, mouths.  I’m planning to skip the figure classes and complete only Head II and Gouache I for the second term.  As for the third term?  I don’t know yet.


I have no idea how to celebrate….

Watts Resubmission #2


Here is the first quick sketch of my second exercise resubmission for Watts.  I’ve just not been doing it and not been doing it….

I’ve found the best thing to do when I get stuck like this is to just very very quickly do a sketch – don’t stop and correct just go for it.

Then I went back to make a few adjustments:


Now ready to move on the third and final exercise to be resubmitted….

Scale of my drawing


I thought I’d show you the scale of the drawing and the reference image I posted last night.  Yep, big difference.  My reference image is an 8.5×11 page from the Watts workbook, while my drawing is on 18×24 (mol) smooth newsprint.

I drew this one with vine charcoal – which I kept accidentally wiping off and having to redraw.  The other thing about vine charcoal is that the stick gets stubby and odd shaped after a while and you don’t always draw a line where you think you’re drawing a line, which is very aggravating!  Yes, I know, I should stop and reshape it, but do I, no.  And yes you can sharpen a stick of vine charcoal, did you see my post about the homemade sharpener I made?

My preference in drawing, or painting, is to stand at the easel so I put my drawing board on the easel.  The newsprint I purchased in a roll for economy, I won’t do that again!  So the sheets I tear off are usually not the same size and they curl – hence the ribbon I rigged up at the bottom to hold the pages flat.  Next time I’m getting it in a flat pad.  Only thing is smooth newsprint has to be ordered online – everyone usually carries only rough newsprint – and I worry just how flat it will be after shipping.

The actual reference image I attach to that white holder you sort of see to the left – Watts teaches you how to make one – it is meant to be at the top of your drawing board but with my neck looking to the side is easier than up.  I’m not really sure this is working for me – it skews my viewing I think – so I’m going to try something different, maybe put it on the right or attach something more flat and not at an angel like this holder?  I have read of a method where your reference is beyond your easel to your right (or left), I think my reference would need to be larger for that.

Hmmm, notice how I make things more difficult for myself?  I guess I figure a “real artist” would be able to overcome such inconvenience – when I suspect a “real artist” will take the time to sharpen her charcoal, ha!

Wee Hours of the Morning Drawing

I’m up into the wee hours of the morning drawing…. well, adjusting and adjusting and adjusting.  Hopefully I’m learning the rhythms of the face and learning to see the relationships.  I do tend to make the nose too flat, my chin too far forward, and the lines the wrong angle.  I’ll think I’ve got it right and then step back to look at it and see its off.  Then I adjust, and adjust again.  Sometimes it takes me awhile to figure out what’s off – and here is where training my eye begins to happen.  This is the first of the three exercises I need to resubmit for Head I.  I think I’ll leave well enough alone and move to the next one.  Besides I’m tired and need to get to bed – it’s after 2AM!  Ack!

Tracing Test


I decided to do a “tracing test”.  Now I drew from a 3.5×5 2.5×3.5 image.  Of course I drew larger and I wasn’t sure how much larger.  Come to figure out I drew an EXACT 4×6 head!!  Wow!  Go figure!

So I printed the same head out as 4×6.  I traced it.  Then I placed the tracing over my drawing.

In the one you see here I placed the eyes of the tracing over my the eyes in my drawing.  Now my eyes are the right size…. but you can see how my head is off a bit.

Now I didn’t take a photo of it, but if I place the outline of traced head over the outline of my drawing head – they match!!!  But then my features are in the wrong place.


On the right are my notes on what is off if I match the head…

On the left are my notes on what is off if I match the eyes…

I still find it amazing for as much as what is off how very close I came.  And amazed it matched a 4×6.  And how the features themselves are the right size.  So much matches it is eerie.

That said it is off.

I got this idea from the practice in the classroom at Watts Atelier.  Where the instructor puts a piece of tracing paper over your drawing to correct it and you can use the tracing to make corrections.  So much better I think then the teacher making changes to your drawing.

I will say this…. that working from the smaller 3.4×5 2.5×3.5 image is more difficult then with the 4×6 – with the 4×6 things are much clearer.  So I am totally amazed at how accurate I was from such a small reference.   So I think I try drawing from 4×6 images.