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I just read "Painting Methods of the Impressionists" by Bernard Dunstan. He talks a lot about lines(outlines) and about scraping off paint to leave ghosts and then doing multiple loose corrections. He says they did many thin layers until it was right.
I am most thrilled by a painting that is mostly lines, patches of color, and then as if by magic, parts of it appear real. It's that transformation from flat paint to something 3D that I enjoy most. In order for that to happen, at least part of the painting must be left in an unfinished state and equally important , part of it must have "spot on" reality.
I have just spent yesterday and today tearing out a wall in my studio. I'm hoping to get a new Nikon D200 in January. I'm hoping to actually get to trying some of those lines and scraping soon.
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