getting in there with the glazes. it’s difficult to put on a glaze that’ll stick. i’m having great difficulty using brushes, because they gum up so quickly. and i can’t make fine lines when i’m dealing with something of the consistency of shaving cream. if i dilute the hell out of it and make it very heavily pigmented, perhaps that’ll work. or maybe i’ll be forced to inscribe a line and then fill it with dark. hard to say.
even building it up as much as i’ve been doing, it’s not very built up at all. nothing like the jupiter painting. because i’m using brushes instead of palette knives, i guess.
i spent some time correcting the verticals and horizontal in the right half of the painting. for the shadows i’ve been using burnt umber and ultramarine blue, and i guess i haven’t been putting enough pigment in it because the darks are really weak.
now i’ve gone and mixed up some carbon black, and put that everywhere the shadows and darks are supposed to go. it works well, but i’m suspicious of putting black in paintings. i have to when i’m dyeing fabric, because you can’t get dark colors without black, but i’m used to finding other ways to make darks when i’m using paint. but that didn’t stop me from using all the black i mixed up.
there’s not much more to go into this except for local color. i haven’t painted in any of the fabric yet, and the chair is still sketchy, but that’s because i shy away from that much persnickety detail. at this point.
i still have some fine lines to put in, and i’m frankly stumped. the next time i go back, i’ll try using way thinned super-saturated wax and pigment, and if that doesn’t work i’ll scrape out a line and fill it with dark.
and then what? this isn’t like any other encaustic painting i’ve done, mostly because it’s so thin. there’s not much actual wax on it. it’s getting to be a done picture, however, and i’ll have to stop soon.
but hey, i can completely ruin it when i take the heat lamp to it for the final fusing. it could run all over the place. we’ll find out soon.