Many art instructors, at one point or another, suggest to their students that they "squint" at their subject.  Squinting your vision is an extremely useful way of viewing your model.  This is why many teachers immediately suggest it as a way to ease the artistic process.
  In a sense, they're ways to simplify the subject.  And any work of drawing, painting and composition thrives on simplicity.  As with any tool or way to operate, my goal is to share some truthful strategies and not to set any limits on their function.  
  When you squint at an object, even in bright sunshine, you will notice a dramatic downplay in the value and clarity of the object.  The world becomes darker because less light is hitting your retina and also because the world is full of midtones and darks.  To control midtones and darks is the key to a great painting.  I don't want to confuse this with blurring your vision because unfocusing your eyes is a very different tool.  Squinting is about seeing a truer value and filtering our highlights to see the underlying form.  While, blurry vision leads to less definition and amorphous structure.
  The amazing thing is to realize how dark the world is.  Even caucasian flesh, for instance, is dark. As a test, take a white napkin and hold it up against your any object and see for yourself.  You will find almost nothing comes close to the brilliant white of a napkin.
  At one point, you will have to open your eyes to see the detail, but it is always more important to get the larger planes and accurate value.  The detail is superficial and squinting allows you to see the bones and structure.  Do some sketching and see for yourself. 

  I was recently re-reading an article that I posted to the Art Renewal Center a few years ago.  The portion of the article that comes to mind right now is about sincerity in work.  I've been thinking about this for a while and finally feel able to convey my feelings about the topic.  When I'm working, I have found the best work comes from honestly trying to capture a feeling or emotion; this is all while not thinking about technique or being bogged down by analysis paralysis.  I've read a lot and written about technique and its importance, but it is far more important to have an individual message in the work.  
  It's not about intentionally blocking technique from your mind, but instead not being crippled by unecessary knowledge.  Don't tell yourself that you need a specific pencil or brush to work.  When you're working sincerely, then the pencil becomes a tool like every other tool and ceases to be some kind of magical object.  This all applies very well to original work; that is, work created to translate a personal emotion. 
   I am not considering sincerity any aspect of master-copies of any kind because the importance of that work is purely technical.  Knowledge is power in any case and learning is very often facilitated through emulation.  Think of schooling of any kind and how children learn my mimicking the teacher.
     A wise friend of mine once explained, "I'm just trying to find out who I am."  The balance comes down to learning about yourself and what you want out of your art.  The problem is often looking for answers outside of yourself. 

    This Sunday, Care About The Strays (C.A.T.S)  will be auctioning off an opportunity to have me paint your pet.  They're a great organization and I'm glad to be able to help them out by donating an opportunity to make a primo painting.
    
    My patrons are kind enough to bring two examples of portraits that I've painted--  So you'll be able to see my actual paintings, not a photograph or anything.


They have a FB group if you want to get involved also:
https://www.facebook.com/groups/careaboutthestrays/


See you guys Sunday!