Knot

Knot

Work In Progress
 
 
Knot-Phoenix Study

What I've learned from this Painting

The burnt sienna background color makes it very difficult to see the lines when I draw. If this color is to work well as a background it needs to be put on much more transparently so the white of the canvas will show through and the overall value lighter.

The second pass of drawing needed charcoal to differentiate the lines from the initial graphite I used.

I painted the background behind the figure black using acrylic paint so that when I go into oil I don’t have to do multiple layers just to get it dark as I want.

The charcoal is muddy in my paint. This is not the best course especially when I went highly saturated hues.

I’m unable to imagine how intense colors could be if I push them. So to make up for this in Photoshop I increase the saturation to a ridiculous amount.

If I want to keep extreme intensity in my colors I need to stay away from white completely. I should probably also stay away from yellow ocher which is mostly chalky. Interestingly enough ultramarine blue and cobalt blue seem to have the same dolene effect when dealing with warm colors.

A large monarch flat is wonderful for smoothing out all the breaststrokes on the initial coating and covering up any of the background color.

Even though I painted thickly I can still see each quadrant of the background color of the canvas and acrylic