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But seriously, Beth,
I think you have a very good painting there. The drawing is truly dead-on, and if you had more time you would have brought out more of a finish to the paint quality. I really admired your determination during the workshop and your refusal to give up until you got it right. You're a real trouper.
Jean,
Thanks for your kind words. I'm not sure, actually, how to catagorize this kind of painting. It's not strictly wet-into-wet, nor is it glazing over a monotone underpainting. The lead white (love it) and the Maroger (love it, sorry Marvin) accellerates drying so that you can go over it the next day, scraping or sanding down any rough edges, before the next layer. Unlike Liquin or retouch varnish, Maroger leaves a ... what's the word I want... WELCOMING surface to visit the next day.
Paint is initially put on in patches which helps you make value and color decisions before you have to address edge control and blending. Maximum control, yet the time and space to leave alone any 'happy accidents'. By the way, there was a LOT of paint on my canvas compared to how I usually paint. This surprised me.
Also, Bill spent a lot of time talking about such matters as paint quality and paint presence. So much to think about.
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