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.