Step 3I've started working over the transfered chalk lines with dilute burnt umber casein paint and a fine brush. Casein is a relative of egg tempera, but instead of using egg yolk as a binder for the pigment it uses a milk-based glue. You can still see some of the red chalk indications and I have begun to model the figure's forms with washes of casein and hatchwork.
Step 4
Step 4Here's the more complete state of the initial underpainting. I try to develop a lot of the detail and values that will guide the color work to follow.
1 comment:
Thanks, Alex. I've always wanted to look over other artists' shoulders as they work. I've gotten to do a bit of that when I've taught, but that's a whole other situation, really. I'd like to find some other artists doing this kind of "journal" so I can spy on them. If you hear of anything, let me know. Maybe you'll do one?
I guess when I screw up, I'll have to show that, too.
Dennis
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