There's nothing like a paint rag torn from a Jockey undershirt to wipe in tonal values and remove paint from a brush. There's something about the plush nap that makes them superior to paper toweling. I'm hooked. I can't get my hands on enough of them; Ellis stands guard in front of his wardrobe. He seems to have noticed his undershirt stack is shrinking. Nevertheless, I have confiscated a few on his bathroom breaks and used one to wipe in Ruby. The wipe in made the sag obvious.
If you look closely at the left side, you can see the ghost of the stretcher bar in the background wash. That's not acceptable. I had to stop wiping in the BU to let the canvas dry for a few hours. Then I wet down the back and went to bed. Hopefully when I get back to the studio, the canvas will be tight as a drum. With no pegs on hand, wetting the back was my only solution to get the bounce back. Gallery canvases, the canvases on 1 1/2" stretchers, are supposed to be highish end--yet only the linen ones come with pegs to tighten the canvas. What's that all about?
What's interesting about my some-of-this, some-of-that start on Ruby is I didn't wipe in the whole canvas. I left white showing where the lightest values will be. That's an Impressionistic touch. The Impressionists painted on all white canvases so their colors sparkled. They thought dark grounds dulled colors. I think so too. Keep your fingers crossed that this canvas has tightened.
THIRTY MINUTES WITH SCHMID
|Richard Schmid, 6 x 8, TMDD Series, Graphite free hand drawing.|
I got a resemblance, no cigar, but thirty minutes is thirty minutes,
a workout session--and that's exactly what these morning drawing sessions are.