In a painting like this, my drawing is the departure point. Much thought goes into each section. I want cracks, some lines which are not straight, some "chips" missing from the stone. Each element contributes to the age of the fountain.
I feel like racing toward the main subject but know I have to take my time and give each part of the painting my attention. "Happy accidents" happen as I move paint around the gessoed board. Oh, that looks like a crack, that a stain on the marble. Letting a little of the underlying gesso peek through in places creates an interesting effect. Here is when painting alla prima works particularly well.
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