|Add white to burnt umbra and you lose the warmth.|
Just like there's no crying in baseball. There's no lines in painting. There are shapes--at least that's what is seared into the right side of my brain. I'm having difficulty ignoring that fact as I work on the monochrome. The grid (contour) drawing took considerable time, but I'm wondering why did I need so many lines, so many reference points? They do act as a guide, but I find myself still using my eye as I work off the reference photo and correcting shapes in spite of the lines, which are disconcerting.
I chain-mixed five values of burnt umbra and white on my palette, but I'm actually mixing more values on the canvas, as I've always done. Edges are getting considerable attention--probably due to the lines which were all hard edge? One thing is certain: The monochrome will make an excellent guide when I get down to color. Carefully considering the values is the value of this exercise. I'll probably want to do more monochromes in the future. Colorless, they are a map for the color to come.