I noodled around with the underpainting a little more, and then I roughly glazed a blue into the background. I actually just painted the stripes to illustrate the power of the underpainting with a glaze of color over it. Ordinarily, I would have painted this area in one "shot" and would have worked a little more opaquely. Notice how the glaze is really affected by how dark the underpainting is. I really mix a lot of medium into the paint for a nice gloss. I've been using the Studio Products mediums, but I also like Galkyd or the generic traditional old master recipe ( 1/3 linseed, 1/3 turpentine, and 1/3 Damar ).
Next, it's time to really get into the color. The real beauty of this method for me is that it is VERY forgiving. Right now, you've basically got a monochromatic version of your painting. You could continue to paint in a more direct and expressive style, or you can reign in those German roots and tighten things up a little. Also, this is really where color harmony and balance come into play. You're interacting with the temperature of the background, and you're glazing colors on top of one another in order to create a tertiary level of depth.
At this point, I play with this thing forever through adding and "lifting" color until it feels done. I'll probably sand this thing off and use this board again due to the fairly sloppy way in which I executed this painting ( not to mention the fact that "a pair of pears"... may... not be my zenith of creative intensity). I hope this is helpful to the people taking my workshop next week.
Hey, I've really got only one more important thing to add:
"When Karate and gymnastics are fused, the combustion becomes an explosion, and a new kind of martial arts superhero is born...Gymkata!"
Pin It Now!