"The 'Mary' in Terry" in-progress, Step 5

Just a bit more work remains to be done here on the skin tones and robe, and at this point in the portrait I will also add in the background color so that I can see any light and value adjustments that may be necessary on the figure.

The 'Mary' in Terry, in-progress, step 4

Here you can see the area toward the bottom right and in the shadow area of the arm where I am blocking in the colors that will eventually blend a little more.  It's moving along, so I anticipate adding another post on my progress tomorrow.

*P.S. on Wed. post:  It turns out my modem is only functioning at 60% capacity, so the cable company is visiting me again tomorrow, plus am taking care of behind the scenes details.  Hopefully I can fit another post in either later tomorrow or on Friday.

The 'Mary' in Terry, in-progress, step 3

(click on image for a larger view)

Just adding some information here on my pastels, at Liz Holm's request.  Although I started off with a small set of Rembrandts and Othello pastel pencils years ago, I avoid sets in general,

and favor building my palette gradually as I go.  I use Sennelier and Schmincke for their rich colors and application.  Senneliers get used up quickly because they are smaller sticks and very soft, but I feel they are worth it.  I also treasure Diane Townsend pastels, which cost more (hand-rolled), but are also worth it.  All of these brands can be purchased online. 

In pastel pencils I've experimented with various brands, and it also depends on the texture of the surface you are working on, but my favorites for the La Carte surface are Cretacolor and Generals, with a few Conte's thrown in.  (General's white charcoal pencil and black charcoal pencil are especially nice).  

Safety procedures are very important with pastel.  More about safety in another post.

The 'Mary' in Kimberly, one more drawing with reference pictures

I'm working on a larger version of this drawing, but I wanted to post it with it's reference photos to show how I'm putting this one together.  I'll be doing a study of this pose from her head to her lap, and I'd like to later do a panel painting of the full figure including the rose petals on the floor.  

I also have at least one other pose I'll be doing of her wearing all white, with pale pink rose petals, but next will be an update on my panel painting, and the first installment of the pastel of Terry.

Panel Progress, "The 'Mary' in Kimberly"

Panel Progress, "The 'Mary' in Kimberly"

Panel Progress, "The 'Mary' in Kimberly"

Panel Progress on "The 'Mary' in Kimberly"

Further work here on my panel painting in laying down the initial layer (actually two layers of egg tempera in some darker parts) for the hair, working flesh-tones over the green underpainting, and enhancing shadow areas on the skin which will be softened with further layers.

"The 'Mary' in Terry"

(click on the image for a larger view)

Recently I reconnected with a friend from high school days, Terry Sebastian.  Terry and I used to sit across from each other in art class, and we found each other again on Facebook.  Terry lives in Utah, but while spending time with family in PA, she made a trip to New York for two days to visit me before she went back home.  We had a great time, and I was delighted too that she agreed to do a wonderful photo session for "The 'Mary' in Terry."  Here is the first drawing I've done from our work together.  I hope I did justice to the photos I worked from for this try.

Thank you so much, Terry.  I'm really excited and grateful too over how we were able to reconnect with each other in this special way about art again, especially after so many years!

Terry enjoys abstract expressionist painting in encaustic.

"The 'Mary' in Karen"

"The 'Mary' in Karen," 6"W x 4"H, egg tempera on panel miniature

I'd like to begin sharing with you my journey of working on this spiritual portrait series with what I have done so far, with the idea of posting continually on my progress.  So far I have portrayed three women, and here is the first painting I have done.  The Divine Feminine within Karen, as I see it, is Mary.

I thought I knew what the 'Mary' in Karen was, but when I painted this painting I found out that God had a better idea than I did, and it spurred an entire series from this one tiny miniature.  More on God's idea later,--- but do you see, if it is inherent in Karen's spiritual nature, what the 'Mary' within Karen is?