Once
the
drawing is completed, I cover it with a layer of Old Holland cremnitz white oil paint reduced with
approximately 30% Liquin alkyd medium. This mixture should be thin enough to
allow the
under drawing to show through.
Before the paint dries, I use a number of different lead pencils to model and
shade the image established by the underlying drawing. This dynamic process is
critical to my painting technique because the lead of the pencils seems to
liquefy as it combines with the white paint thereby providing the mid-tone
values for the final painting.
By
the time the oil paint dries, the graphite image appears to be fused to the
painting surface. The dried surface is often uneven because of the movement of
the pencils through the oil paint making it difficult to adjust the drawing
after the paint has dried. In a way it's like fresco painting only in black
and white. I advise working in small sections because the process is more manageable.