Ania's "Hillary Diary"


Continuing on the eyebrow. The under layer is so messed up its really tough. One of those seances where you think you’ve manipulated the line and then you get to the other side and realise how far off you are. I’m getting there though. It helps once the paint dries and you go back to it rather than continuously blurring the lines.


Sergio's "Hillary Diary"


I worked on Hillary today, (Thanks God!). I introduced a more vulgar treatment of the space in the dark part of the nose, creating little and big chains with my brush in oil. I thought I messed it up, but it all came together. I was working on the shadow, the dark part of the nose, and realised that a photograph of a face, when the shadows are dark, creates a texture that doesn’t really exist on the face. So, I had been working on a grid or texture that normally would not exist in Hillary at the bottom of the nose. However, in our painting it makes sense, and has a logic. Ania started working on the eyebrow, and I told her not to use the same method as the skin texture but to put big lines on the eyebrows themselves and then fill in the spaces between them. To do this, I told her to take a bigger brush.


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