Hola.
So, if you're a purist, your head's gonna spin around because I'm sort of fudging the 3rd step here.
What I've done in step three was address the background. I'm not sure why. I think because I was so unsure what I was going to do, I thought I'd just do it and see if I could live with it. Cause if not...nows the time to find out. Not when we've spent hours on the flower, only to screw up the background. I used Windsor and Newton transparent marroon and...um... let me check, purple madder with a touch of French Ultramarine. What's the difference in Ultramarine and French Ultramarine? The French one gives up easier I guess.
That being said. I still couldnt decide exactly what was going on in the background so I varied the reds/purples to give the illusion of the flower sitting on something with depth, but not trying to imply any specific surface.
This image shows the background with just 2 glazes. Because this background is painted onthe background of the white canvas and all three colors are very transparent, the light shows through them, bounces off the white canvas and makes them brighter. In the last post, I mentioned that you needed to think about your background and this is why. If I'd tinted the background with umber it would have given the background a deep deep blood red tone which would have been very classical, but maybe a touch heavy, so...the gamble paid off and I'm happy enough with it to go on with the flower. Chances are, this will get at least 2 or 3 more glazes before I'm done. Who knows. We shall see.
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