I feel that the largest obstacle that had to be overcome in painting today was the different greens and their values. It was a good exercise in painting with multiple 'greens'. I think that many artists fore go painting in the summer precisely because of the greens. How many times have we heard it said, "I do not paint in the summer, to many greens."
When squinting at the photo below with all its greens, the values are very close. Looking at the painting or comparing the painting on the easel to the scene, you can see how I tryed to manipulate the subject and their values in order to have lights against darks , darks against lights , warm colours against cool and vise verso. All of this to establish a background, middle and foreground. It can be a fight ! Full concentration is required here. I am not sure if I have been entirely successful here. Perhaps the values are close, thus losing some definition of the subjects edges. The panel for this piece was a Masonite gessoed panel that had a pinkish orange stain on its surface. The colours for this piece were Cerulean Blue, Ultramarine Blue, Cad. Red Light, Alizarin, Lemon Yellow, Cadmium Yellow Medium. As I painted, I added Veridian Green and Chromium Oxide Green and Yellow Ochre. And of course, Titanium White.
And, as if the 'greens' were not enough, I thought that I would add a little more fun to the mix. I drilled a hole into the end of a piece of molding, one inch by one inch and inserted my brush. Try it sometime ! With the heavier 'squinting' and the 'stick' brush, looseness seems to take on a whole new meaning of its own.
Interesting...but I think that this method of working would be more successful on a much larger panel that would allow for more freedom of movement at the shoulder while working.
Some "tightening" was executed near the completion of the painting with a brush (without the stick) .
Great fun !