A foreground composition from the whole assemblage. It happened very quickly, but that was because I had already done so much preparatory work.
At the substrate stage I had glued in a collage to reflect the movements and folds of my pants leg. That was a lot of fun and ended up being one of my favourite collages. Then at the underdrawing stage I laid in some black and white washes to reflect the strong value contrasts of the composition, see top right. I covered the whole panel with a coat of yellow ochre imprimatura and set to work.
I mixed up three tints of gray in addition to the titanium white and began filling in the chiaroscuroed pants. I mixed up raw umber with a touch of ultramarine blue for the deep shadow, then laid it in with a brush and a small celled sponge. I increased the value-intensity-depth of the shadowed side pock-marks to enhance visual interest. After about a half hour I had what I was looking for.
Amazing what a little suggestion can do. Technical write up of my use of acrylics for indirect painting in this project here.