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| Beginning the under-painting |
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| Too big? How could ol' Bessy be too big? |
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| The first bit of color and a new angle on the scarecrow-Christ figure |
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| Dynamic strokes increase the sense of movement in the picture |
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| The addition of gold hues creates the beginnings of the sunlight transition range |
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| The pigments must be worked in such a way that will allow transition, but not muddiness At this stage, it's mud-city |
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| Low-lights are the key to solid contrast The sunrise wouldn't be as bright without a transition to darker areas |
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| Creating the under-painting of the fore, middle, and background of the cornfield Continuing to work the transition between orange and light blue |
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| Add lighter streaks into the darker sky for contrast |
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| Finished under-painting |
As the under-painting is complete, the next task will be to re-assess the scale of the scarecrow-Christ figure. He is too prominent in the plane and needs to be pushed further into the background. It needs to seem as if he is wadding through the corn, or is just barely suspended over the corn. Once the under-painting dries, back to work.
