Fig. 23 This looks quite good already, paper and glue cause a significant raise of the surface tension and the canvas is tautened considerably. Alas, this causes undesired “seams” where the pieces of paper butt instead of overleaping. These parts must be reworked afterwards with a fine brush and some paint mixed accordingly.
Fig. 24 Unfortunately, the colors on this photograph are somewhat distorted (because of the artificial light), but apart from that it looks quite acceptable. The details are still missing; yet, the most difficult part is over. I take my time for working out selected parts – time to establish my personal contact with the artwork once more. I lay some brushstrokes over the background with thinned tube watercolor and a bristle brush. With a 001 red sable I work between the pieces of the collage, the gaps and edges of the scraps to correct everything that still looks white in Fig. 24 with the respective hue.
Fig. 25 I mix most hues with yellow as a basic color, adding some van Dyck brown and manage the rest by adding more or less water. Now the reasons for my color selection become obvious: the less colors on the print, the easier you can mix them afterwards. I rework several parts with my Evolution airbrush – lighten up the light bulb and use white to spatter over a few areas.
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