Here are heads No.7 ~ No.10. I just realized I forgot to post No.5 and 6. I'll do that on the next post. These head studies, as I mentioned before, are quick and dirty and I only work on them until my baby wakes up from her nap. She's not very consistent in how long she sleeps, so sometimes I am far from finished when I have to put my brush down.
That's ok because I don't expect to finish them. I'm fine with abandoning when the buzzer goes off, and just start a new one the next day. That sort of "parameter" is rather liberating, and relieves me of pressure to do well every time. I typically just set out with one problem to solve and I don't expect to solve them. I explore and investigate, and while I may not solve a problem every time, I always learn something. And that's progress, in baby steps.
No.7 - I used a Sargent drawing as a basis for this one. I wasn't trying to make a Sargent-like painting, (not that I could, if I tried!) just using the drawing for reference. I was particularly interested in simplifying the attitude or expression, of the nose and the lips. I'm pretty happy with it.
No.8 Splotchy brushstrokes, a la Fechin. Not muddling the stroke edges - you can see I kind of lost it on the contour. Also, I was interested in painting a profile with almost no shadows to define the structure. The value and temperature changes had to be subtle, with the hair providing the value punch.
No.9; Looking down. The drawing has its challenges with this angle. I fussed with it too much and didn't pay enough attention to other factors. The value oriented "tonalist" structure conflicts with the color temperatures (the blues around the brows are too cool and obvious) I noticed it and was contemplating whether to warm that up or introduce a more consistent cool light. but then... time's up!
I like the abstract quality of this one. However, it's the result of rushing through the process and not something I meant to do. So that, to me doesn't count as a success. It's an accident. Still, I look at it and see things I like, and I can apply them to future paintings on purpose. There is a lot of value in the unsuccessful attempts; maybe more than the successful ones.