Here's what's going on:1: The pencil drawing goes on the panel. Like I said, trouble-- We freehanded the line using a shipcurve and a grid proportioning system to make sure all the ellipses were accurate. (This took a little longer than you might expect...) We didn't fix the drawing, but instead, inked it with a Nikko spoon pen and black india ink.
2: Time to 'kill the white.' We washed in ivory black mixed with turpenoid/oms (This is parallel to the brownish yellow wash in for the Morinaga box).
3: Next, instead of painting the greyscale, we erased out the dried black wash in with a kneaded and rubber eraser. The grid lines came through from the pencil drawing stage. Also the first layer of the background went on. As you can see, it didn't cover the turp very well at all. Bummer...
4: Some of the grayscale painting went on anyway. But the eraser-drawing half helped this paint layer because of the large planes we have to sort through. There was white cut in against what will become painted gold. The greyscale painting will also help the future blue glazes on the cup and saucer.
5: Next, the colors of the gold in the cup were partitioned. And the first blue glaze went on the teacup (That took over a week to dry..)!
6: Detail work in the gold in the cup plus a little aureolin glaze to unify hues in the gold. A flat hue for the gold was put in around the bottom of the cup. The teacup white bottom is painted in a little more, in a direct way.
This painting is especially tricky because we have to make sure every plane reads perfectly, due to the very regular/perfect ellipses. Any bit of drawing that's innaccurate is sure to fight against whatever convincing quality we're trying to achieve. We have a loooong way to go on this yet....
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