I’ve got a fair amount finished on the underpainting of the second version of my still life. It’s feeling very dark. Rembrandt dark. That was the plan though; keeping the rest of the painting dark and softened in detail, so the central focal point of light effects on the small pitcher will “pop.” But I’m used to using all the vibrant colors that acrylics are known for. This is new territory for me.
Yesterday I was working on the wood grain of the table that the objects are sitting on. I was using the finest of brushes with very few hairs and highly thinned paint mixed with gesso. It was tedious, but I think it’s working. The paint was so thin, it might as well have been watercolors; and the canvas was so absorbent with eight layers of gesso, it might as well have been paper. Quite a mixture of techniques will go into this one.
I discovered it’s really difficult to not keep painting those super-fine lines over and over in the same spot when I intend to paint new lines next to the previous ones. It seemed to be the same problem I’ve had with target shooting, so I employed the same principles to correct my “aim.” (Dad would be proud.)