About the grisialle underpainting

I am going to write only a little tonight. I have been painting and driving and I am real tired. I am going to address a couple of questions that came up in the comments though. The first is ;

I love clicking on those pictures and seeing that brushwork. Are you going to let those dry before going back into them again? You have not completely covered your preliminary drawing will you cover those areas before attacking what you did to this point?

I will go in and touch up whatever hangs out that bothers me when I next work on the painting. I like the painting pretty much as is, so I will probably leave it brushy and loose. I will hit the painting with retouch varnish first. It is hard to match paint to colors already dry on the canvas, but even harder if that color is dried in.I will also take a long hard look at it in a mirror and see if any faults I missed appear that way.

The other question was:

I like the way you did a grisalle out doors. I do the "wipe out" grisalle for studio work but haven't tried it out doors. Was your grisalle dry or had it set up by the time you started applying paint? What was the medium you used with your raw umber? How many different mediums are you using in this? I like this approach - the grisalle always helps me design the thing and get a handle on the choices I make of the millions of options out there.

I often do a grisialle outdoors. Often I put about 60% of my session into it. I used Gamblins alkyd medium Galkyd, I thinned it out by about a third. The oil primed panels I make are thirstier than those made with acrylic gesso or that have canvas bonded to them, so I was getting very fast drying times. By the time I finished the grisialle it was pretty much dry, which I like.


I will start a new series of posts tomorrow night, see you then.