1st background glaze & begin flesh tones

Figure scene - sitting #17

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Now that the upper background is near complete, I can now add the first dark transparent glaze to the far left of the image. I use Sennelier carbon black. I am aware that the vehicle for this pigment is safflower oil which is not in keeping with the linseed i have used , but I know of no other black that is transparent so far, linseed based or otherwise produced by another brand. I could dilute ivory black but it just doesn't work effectively enough and ends up looking 'dirty'.
I start at the lefthand edge of the image with just the carbon black, diluted to a ratio of roughly 4/5 - 1. As I work to the right I add just small touches of vandyke brown, then alizarin crimson, both of which are transparent anyway, until I get to the first female figure in the red blouse.
Since the light source in the image picks out an undulating characteristic in the tapestry I have chosen to 'sort of' emphasize this by using a rag to delicately wipe out, lengthways, upwards, the lighter areas.
The underlying flesh tones are applied to the last 4 figures to the right and I also work shadows into the kneeling mans shirt and the second standing female's coat. Dark skin tones first !!

Colours used - Cremnitz white, Ivory black, Carbon black, warm grey light, unbleached titanium dioxide, vandyke brown, burnt umber and sienna, ultramarine, yellow ochre, Naples yellow extra, alizarin crimson, maroon red deep, cadmium red deep, vermilion and flesh tint.
Brushes - #'8 & 20 long flats, #'s 2/0,2,3, & 5 rounds, #2 bristle fan blender, 1" badger long flat blender & #4 natural short flat blender.