Finally the home stretch. This then is the first of twelve final panels: all panels in this series will be executed exclusively in oil on an oil ground. This particular panel was painted on linen mounted on panel previous to the application fo the oil ground. All these slight variations in pre-treatment to the grounds mean that there will always be a slightly different relationship between the ground and the application of the paint.
Additionally, because this is an oil ground it’s not receptive to the india ink that I used for the underdrawings in the egg tempera, mixed technique and/or encaustic panels. In those cases the ground was a traditional chalk gesso, which is water based and also very absorbent. So I had to switch to a heavily diluted black oil paint for my underdrawings. The imprimatura too, was a heavily diluted yellow ochre. And after both of these treatments I had to let the panel dry for a few days.
However, because I had laid in this groundwork, the thicker oil level proceeded quickly. It took just one working session to develop the main forms and textures – although I did have to let that dry before painting in the final contrasts. When using an indirect technique for oil in this way means that the waiting times are not for impatient temperaments. I’m pretty chill, but even so I do chafe at the bit sometimes. 😉