1. Further research has led me to paint Alexander's
horse black. This color change forced me to lighten the area behind and
introduce an arched darkened doorway. Why? As this is an area of maximum interest
the 'light against dark and dark against light' assumes greater importance.
The arch of my door 'frames' Alexander's head but is positioned so as not
to interfere with the dark horse.
2. As I increased the amount of misty light
behind the dark soldiers on the right I needed a balance on the left so
I shifted the ground highlight from beneath Alexander's feet to the left
of the King's chair.
3. Foreground logic. As figures, sheep or objects
become more distant from the light source their highlights change from
yellow to orange to red - as does the light source itself.
4. I have done some minor alterations in the
skyline as I dropped the top border three inches. The profile of the tallest
building is changed and reduced (yet again). The old -new, stone - timber and
not quite vertical or strict nature of the architecture is retained. I
have added a purple glaze to the topmost sky to unify the red with the
Note the color of the horse changes from
brown to black.
I am now nearing the stage I call presentation. Glaze sky with thalo and begin to spend time detailing, edging etc.
Remember this painting is not only about art, it is also a narrative about
lateral thinking - and about communicating that idea. The construction
of the painting is pitched to the exotic, to sentiments of heroes and villians.