While it remains challenging to carve out time for work with everyone home and requiring constant attention, I managed to accomplish a few things. I cut out nearly all of my Protoa designs from cardboard to build the armatures, prepared several boards for generative line paintings, including two primed with black gesso instead of white, began my largest scale generative painting with a ribboning titanium white undercoat, and finished my fourth generative line painting study.
This fourth painting is the first one in which I’ve painted an intentionally textured undercoat. In this case, it’s made using titanium white heavy body acrylic mixed with soft gel, retarder, and flow enhancing media, which creates an interesting texture when laid onto the mdf with a large brush. I also started with the first fine line in the middle of the work and painted outward on both sides. Interestingly, while this one is my favorite of the series so far, both my husband and son disliked it, and if I had to guess, it’s because of the colors. I like this painting because it has more visual complexity than the previous works due to the base layer and also working from the center out so the imperfections resonate separately on either side. The textured undercoat also changes where the lines want to go and accentuates them differently. Overall, the studies are becoming more interesting but something still seems missing.