Wiped transferred outline away a bit so that it's easier to paint over. The burnt sienna contrasts the turquoise and is going to make a neat underpainting. I did this with my Bottle Fly so it's pretty much guaranteed to work. When I apply the turquoise paint colour, I will do so with scratchy brush strokes and a palette knife so as to allow the underpainting to shimmer through. The most important thing though, is to make sure that this underpainting is exactly the right value. If you are tone blind, the monochrome setting on your camera can help you out. But really, if you're tone blind, take up macrame or ice-sculpting or something.
If you look really close you might be able to make out two giant arrows that are pointing at two gobs of paint. The gobs of paint are turquoise that I have mixed up to match the still life set up. I have smeared them onto the still-wet underpainting to see if the values sit right.
Start of ebauche.
The skull was painted, oh, a couple more times. For the final pass I switched to lead white. As you can see I fudged the table top to make it about three times as thick as in the set up, and for interest's sake I added a keyhole, so ta-da, it is now a chest that the skull is resting on. This is the first still life that I have completed from natural light and I finally have the warm-cool balance that I've been trying to achieve. Time to go smash all my fluorescent light bulbs.
Ho-hum, here are the pre-mixed colours I used to paint my "whites."
So the painting's done now. Or is it? I have this dead dragonfly just lying around, all like, "So is there a reason you've been keeping me in a tupperware in the freezer for six months? Nah it's cool. Don't immortalize me if you don't want to. I'll be here the next time you go digging for frozen tater tots."