tag:blogger.com,1999:blog-7979346361840826119.post5639318887049611771..comments2009-08-28T20:03:26.501-07:00The Art of Kim Kincaidhttp://www.blogger.com/profile/11725289404334038843thetwirlingdragon@hotmail.comBlogger2125tag:blogger.com,1999:blog-7979346361840826119.post-17364591946636030852009-08-28T20:03:26.501-07:002009-08-28T20:03:26.501-07:00Hi Blaze...yeah, I had to ask for clarification too. In my first post on the workshop, I said that Jeff primarily uses transparent colors in the shadows and builds up opaques in the lights. In finishing his pieces, he takes his brush full of paint and strokes across the form for the lightest lights. For instance, on the forehead, the direction of the brush stroke would go across the skeletal form of the skull, creating depth with the highlights. I know it sounds confusing, but I thought of it in the way I apply lotion to my facial planes....I tend to blend it across and out across my bone structure, following the form underneath. Does that make sense?The Art of Kim Kincaidhttp://www.blogger.com/profile/11725289404334038843noreply@blogger.comtag:blogger.com,1999:blog-7979346361840826119.post-74564715492815302452009-08-28T18:20:48.813-07:002009-08-28T18:20:48.813-07:00What do you mean by paint across the form and not into it? This sounds wise, but I am not sure what it means.Blazehttp://www.blogger.com/profile/01482080603188501757noreply@blogger.com