I'm not entirely happy with the lines that cross over each other on the right hand side. It looked okay as a sketch, so it wasn't until I started adding the colour that I noticed it.
I tried several things to tone down the lines that run underneath, but nothing really worked. I think it's alright as it is, but I will modify it for another painting.
I love this green! I stumbled across it by accident when I ran out of my Winsor & Newton Sap Green. I thought I would try Michael Harding's version instead, but when it arrived, and I squeezed some out, I was shocked at how dark it was.
I needed to lighten it, so I added some white. Wow, I didn't expect such a lovely green tone. The only worry was how much will it alter over time now that I've had to add white to it. I used M. Graham's Titanium White (non-alkyd), which is made with walnut oil, so it should be okay, because walnut isn't supposed to yellow as much as traditional linseed oil.
Adding white to a transparent colour will make it more opaque, but that didn't matter with this painting. Theoretically, you could use a zinc white to preserve the transparency, but I find that it still gives the colour a milky appearance, which you get when you add an opaque white. It's much better to find the right transparent color to begin with, such as the W&N Sap Green.
Also, it scares me using too much zinc because it is advisable to only use it in the final layer as it has a tendency to dry to a brittle film, which is vulnerable to cracking.
This was an interesting experiment. It's an alluminium panel specially made for acrylic and oil paintings, meaning that it has a ground applied to it to absorb the paint.
I enjoyed working on it, mainly because it's so smooth - there isn't a tooth pattern that can steer your brush off course. But there were some issues that makes me unsure if I want use it regularly. I think most of these issues are related to the ground that they have used. It would be interesting to add my own top of it, or just a layer of paint, before I start working on it.
Click here to read a more in depth review
Prints of this painting are available here