The painting is now covered, top to bottom, left to right with the basic colors that will influence the final result. I work this way for a bunch of valid reasons:
because it is easier to go from big shapes to little shapes--big brushes to little brushes.
I never lose the overall design shape (abstract structure)
I've solved many of the issues that will bring the viewer closer to inspect the painting in further detail (which is the next step--those details and edges).
I can immediately tell if the design holds up at distance (Howard Pyle used to tell his students, "Thirty mintues, thirty yards" which means if you don't have a strong abstract structure in the first thiry minutes of painting, you ought to start over. Good sage advice. Google his name and look for his history. He taught me a lot, even if he died in Italy in 1911. I have his books--for example the ones by Andrew Loomis, one of his students "Creative Illustration" credits Howard Pyle's influence for his success. Howard Pyle is considered the "Father of American Illusatration" which held high honors from the 1900s through the 1940s until the advent of photographs. Pyle's students read like a who's who of American Illustration. His legacy was his students.
The Blog for all of this:
HERE
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