The burnt umber outlines really helped me see a new direction for the sky. I wanted the figure to stand as the main focus of the composition, so I needed a muted background to go against the skin. I was not happy with the b blues I had on it previously and felt strongly that it needed more warmth… a warmth that would be reflected on the skin: YELLOW?!?
I couldn’t visualize the effect of the yellow, so I dove in with in, knowing ng that I could always paint another colour over it. The initial coat of yellow left much of the business from the previous sky, but gave me a feel I liked, so I added another coat of yellow and then started thin-brushing it onto the skin to show its reflections.
I added in a little more burnt umber onto the outlines and shadows too.
I had to walk away for a bit and now, as I’m writing this, and looking at the canvas in front of me, I realize the sand iss still off… I’m going to have to think about that… let’s see how that might play with other aspects of my colour choices.
Stay tuned…
The New Renaissance Mindset 