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A rough sketch starts me out in acrylics, done over the burnt orange underpainting, choosing a warm because of the predominance of the Cool Box Colors as the painting progresses. I do a cover-the-canvas every time to get rid of the white. I see so many paintings with those itty bitty white spots showing through--very distracting to a trained eye. By getting rid of the white, I have a surface that unifies if/when any of that warm peeks through.
The dynamics of the design are already apparent if you see those vertical strokes supporting the action in the center--just like the curtains on a stage. I'll be using a modified familiar background from another, earlier painting to make this get off my brushes faster. I will be looking for that "aha" moment when you recognize it--and when I paint to deadlines, I don't try to break new ground (except for "Guardian"). One thing about this, I have painted so much, that the repertroire of materials available is vast. If you haven't painted much, every painting is a discovery and challenge. I remember those days!
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