Whew! one of the most challenging panels yet! Why so?
To begin with the composition was very complicated – in the middle distance. There were three explicit figures plus a number of other shadows, all jumbled up together in the original photograph. I had to disentangle and determine the significant shapes and forms. Deciding what to keep and what to toss.
Secondly, the values in the middle distance in the original photograph were darker than I preferred so I had to figure out t how to to modulate them appropriately. For me personally, the values are still too dark but I’ve found a compromise that works for an individual panel and should still work out in the final assemblage.
Thirdly, the set-up for this particular panel called for acrylic sculpting gel as part of the work-up for the substrate. The painting was executed upon this relief. This posed an additional challenge due to the undulations in the painting surface of the painting knifeused for creating the relief. It made the surface coarser and more textured than I prefer. But since that’s part of the self-imposed rules for this particular game, off I went.
Ninety percent of the work on this panel focussed on the middle ground figure groupings. The hues and values, the play of light and shadow. Also there’s a lot of detail there. Luckily I was working in acrylics which is far more forgiving to pentimento than oil is. After the middle ground was established, the foreground went quite quickly. The two shoulders, the plaster wall and green railing. I’m ready to set this one aside and stop dreaming in fifty shades of gray.
Technical write up of my use of acrylics for indirect painting in this project here.