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Work in Progress 2

This photo was taken using the Olympus E-PL3's built-in filter. As you can see I used different filters to capture the same view. In this way I could maximise information gathering whilst on site. The decision proved to be useful when defining tonal and colour contrasts in my palette.

This underpainting is made with an oil based lean medium to which I have added a combination of alizarine red and a hint of cadium red. The intention, beyond developing the general composition, is to potentially allow some of this hue to flush through the over-painting.

This is a detail of the first layer of lean underpainting.

Over this layer of lean red I have added another lean layer. This time with a combination of French ultramarine and a hint of dioxazine purple. I was looking to stylise the image somewhat, with the intention of introducing a slightly surreal approach.

Whilst doing this I was aware of the influence of my painting teacher Charlie Boyle. I was intrigued to notice that the ground looked a little like cut flesh. I liked the implications of this. The organic rhythms provided a sound basis from which to continue adding layers. Here is another detail of the ground.

Here you can see the opaque and semi-translucent layers of colour going on to the ground, essentially working from the top down. To this layer was added further opaque paint to modify relationships across the whole canvas before the final layers of glazes were applied.

This is the final result after glazing. You can see some of the pinks and reds of the underpainting visible through the subsequent layers of opaque and transparent colour.

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