Here’s the result of the morning’s work. I spent some time figuring out where the composition is going – I will place an object in the left side to bring the eye back up to the fellow on the left; if you look closely there’s a faint white line there which is my marker to suggest where I’d like this compositional device to go.
I made another change in the composition by adding a rock to the edge of the canvas beside the man. This closes that edge behind him so that the journey of the eye will tend to stay on the canvas instead of being led off to alternate adventures in another canvas somewhere. I think that I will probably add a foreground rock as well, upon which the woman will sit. This will made the action more contained and personal, and also make us feel as though we are flies of the wall at an event that we probably shouldn’t have seen.
I worked at defining the rocks by using a knife to scrape on some Van Dyke Brown over the Payne’s grey and loosely onto the rock surfaces, then adding some knifed Titanium White to it on the tops and left sides of the stones, where the light would hit them. I used the same brown to bring some texture into the female body.
At this stage of things it’s important to remember that further layers can lighten or darken the paint considerably, so things are not as they seem. Colours will also alter as glazes and opaque textures lay on top of what’s on the canvas already.
The large expanse of greenish brown on the left is finally irritating me enough that I think it’s going to have to get some attention very soon.
I want to express some ideas about the nature of trinity in this piece, a tricky proposition. Clue one: her fingers.