Reading this exercise reminded of the monochrome studies and working with a dark background. Beginning this study after painting a raw umber background and sketching the study out with a white pencil, I found it awkward painting vast areas of white and blocking the darker paint. Using about four shades of the raw umber mixed with white, I gradually got the knack of where to put which tones and how to layer them together.
This study may not be as cleanly finished as the prior but I do think that certain areas, in particular the wine glass, work well and gives a contrasting yet similar effect to the white ground study, and so I admit this technique might not be one of my favourites like the previous is, but I would use it again if there was an opportunity, and would like to try both tonal studies in portraits in order to distinguish planes of the face and the naturally occurring shadows and forms of the face.
SOPHIE FAWCETT'S OCA LEARNING LOG 