I also tried to convey the impression of speed by reducing the size of the faster moving lower legs at first (this is observable on video or by whipping the back hand back and forth Bruce Lee style), but it did not seem to work on canvas... especially with the darker background. In the end, I decided to break down the lower legs thus creating an effect of imprecision and forcing the mind to recreate an average complete limb out of the broken pieces. This approach deserves further investigation on my part.
After all this work, I find the second runner in the back out of place: due to the initial poor drawing, I had to do too many iterations on that figure alone so it's now sticking out like a sore thumb. My intent with this painting is to salvage the larger runner, discard the other one, and reduce the size of the painting down to 24 X 30, if need be...In this more direct painting style, I feel I will have accomplished something when I can live with any mark I make on canvas with no regrets! In other words, I still need to reprogram my mind to accept all imperfections as they come along! This is the only path to the freedom I am after in art.
Note to self: "Based on this experiment, I realize that nothing beats the impact of the large figure or any large close-up for that matter painted in almost abstract fashion but totally figurative from a distance. The more I think about it, the more I believe this should be my artistic viewpoint. John Singer Sargent was never a painter of vistas... and his art beyond portraiture is phenomenal , especially the watercolors. He would plant his easel anywhere and start painting what was in front of him regardless!"
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