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Dr Jeckell
Scott,
I knew i could count on your advice! (bye bye to my chocolate)
Thank you very much, I will follow literally all the points you have made as I agree with everything except the hands were not done yet, just lightly whitened.
I have worked in raw umber and white, do you think that's too hot? I tried white and black but I was not happy with it., and continued with umber. I hope I will be able to fix temperatures later, maybe painting opaque.
I MUST be disciplined and wait before starting to glaze, I have a couple more decisions to make, but I am really excited about trying.
In the meanwhile I keep going at the my art school's open studio where I pretend to be super contemporary, Uglow and Gwenn John
(I found these two painters are mythical for every female art teacher in the kingdom), hiding my Mr Hyde life as a glazer.)
Joyce, thank you very much for your compliments, but I have a lot to learn. I will check on Garth's post, but I just wanted to tell you one thing.
Be careful not to confuse the underpainting with the beginning of any painting.
Like many other painters, I am very disturbed by the whiteness of the canvas, and for me normally the first step is to cover it with large areas of flat diluted colour that will also help me to establish the composition.
These masses will be completely covered by thicker paint, they might end up being totally different in hue, tone or size once the painting is completed. They are just a preliminary stage. The underpainting instead is there to stay; I would say it's like splitting up the task, first taking care of the tone, then of the colour itself. It is a discipline.
For me this painting is an experiment, I am not sure I am ready to give up a more intuitive approach, a little improvisation and the surprise a bold brushstroke might bring, but I want to have a go, since there are such masters over here
Ilaria
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