Week 10 felt like a sprint in the best way. The theme was foreshortening and alla prima work from source, and I ended up with a mix of sketches, studies, and a few paintings that surprised me.
The biggest lesson was not just “draw what I see.” It was learning to trust what I see, even when it looks weird. Foreshortening asks for honesty. If I try to “fix” it in my head, it stops being believable.
This week also gave me something I did not expect: proof that correcting a painting is a skill, not a failure.
Foreshortening: Alla Prima From Source
Foreshortened Hand
This one was a straight up brain workout. Hands are already complex, and foreshortening makes them feel almost abstract. Planes compress, proportions shift, and the shapes get chunky in ways that can feel wrong if I am not committed.
It pushed me to simplify and to look harder. The moment I stopped thinking “hand” and started thinking “shapes and angles,” it got easier.
Foreshortened Figures From Photo
I did several quick sketches from photo, focusing on foreshortened poses. These were fast studies, and that speed helped. Instead of overthinking, I could chase the gesture, the big value groupings, and the main perspective clues.
Foreshortening is one of those things where the first few attempts feel awkward, and then suddenly one clicks and I can feel my eye starting to adjust.
Foreshortened Idea Board
This was a fun surprise. I mixed design patterns with images and built an idea board around foreshortening. It felt like a creative reset, but it also helped me see repeating themes in the shapes and angles.
Sometimes organizing inspiration is its own kind of practice.
White on White: Limited Palette Flowers
This was fun, and it broke a rule I did not realize I was holding.
I did a white on white flower study with a limited palette, and I learned that I can use a lot of colors as long as they are mixed with white. It still stays cohesive, still reads as “white,” but it has life.
I chose flowers on purpose because I do not think I do them well. That was the challenge, and it ended up being a good one.
I also loved staying within the two hour limit. It forced me to make decisions and keep moving instead of getting precious.
Black on Black: Horse
This was super fast, fun, and honestly easy in the best way.
I felt like I could keep going and push it into ultra detail, but I let myself stop. That might have been the real lesson. Knowing when it is enough. Letting go while it still feels alive.
Black on black is such a cool exercise because it is all about subtlety. It is not about outlining. It is about tiny value shifts and edges.
Limited Palette: Lion Study
For my limited palette piece, I picked my own source: a lion.
My first pass was rough in a very specific way. The face was too long. He looked like Scar from The Lion King, and once I saw it, I could not unsee it.
Here is the part I am proud of: I corrected it.
After I finished, my mentor encouraged me to learn the lesson of correcting a painting, and I am so glad I did. It is one thing to know something is off. It is another thing to go back in, adjust proportions, and bring it back to life without wrecking the whole thing.
The final version came out so much better. And now I know I can do that. That is huge.
Lessons I’m Taking With Me
- Foreshortening requires honesty. It will look weird. That is the point.
- Speed studies help me stop trying to “solve” everything mentally.
- Limited palette does not mean boring. Especially with white on white.
- I can let go and still make something strong.
- Correcting a painting is a skill I want to keep building, not something to avoid.
Week 10 stretched my observation skills and also my mindset. I do not have to get it perfect on the first pass. I just have to stay engaged long enough to make it right
