This next stage in the process involves covering the canvas with three or four primary colours in oils, which I vary in tone, and mix together occasionally. However, rather than butting the colours up against one another I try to leave a gap. The underpainting in egg tempera acts as a bridge, which I find rather attractive, but is there essentially to prevent any mishaps. Such as when the colours run into one another accidently whenever I am scraping away any of the excess paint.

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