The limited four color palette and no predrawing method was working so well I decided to try it with a portrait. I massed in the dark of his sweatshirt and the shadows on his face and hat. Since I then knew what was dark and what was light I was able to concentrate on color and draftsmanship for the rest of the painting. There was freedom in not having the lines of a drawing on the canvas. I felt unconstrained and could move paint wherever it needed to go without having to 'maintain a likeness' that I had pre-established. No drawing actually ended up being better drawing, if you know what I mean. About 3 hours.
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