Adding to the underpainting
In the previous article, I went through some steps in creating an underpainting using burnt umber and white. I start here where I left off and develop the underpainting a little further. I add some subtleties of skin and folds that will show through in the final piece.
I avoid highlights on the glass surface at this stage. I downplay some of the values and keep it light, because glazing tends to darken the values by a certain percentage. I don’t approach anything over 80 per cent in the greyscale, because of the use of burnt umber and white.