Autumn Hues 11" x 14" O/P
Yesterday was by far the coldest day so far in my neck of the woods. Finger numbing weather made it unwise to venture painting outside today.
I decided today would be a good day to do or "redo" a previous painting, 'fresh' from a past fall reference.
I think that this piece has been more about "the journey" than arriving at "the destination".
For that reason, I have included a photo of this half finished painting that shows, I feel, at a closer glance, a 'road map' if you will, to the finished painting.
So, lets start by getting into a few fun twists and turns...!
I began (shown from top to bottom) by laying the composition in, with a rather unconventional method .
1 Using a "crumpled up" piece of paper toweling, and following the general pattern of the larger objects in the reference, I gestured in the shapes with a mid tone of the suggested reference colour. The consistency of the paint was quite runny ( see the 'values' at top of example) I was not concerned whether or not the colours ran together or not or how exact the "scrubbing was".
In fact, I preferred the colours overlapping and doing "their thing". 'Scrubby" looking, right ? !
Just my opinion, but I think this helps to contribute to the "looseness" of the final painting.
2 Once the panel was roughly covered with the different colours and their values, I proceeded, using the same method and same "crumpled toweling", I mimicked the next largest darker areas in my reference, with a darker value (less medium) as suggested in the center of the above example of the largest tree, in all the other colours.
Now, the darks and their lesser values have been placed on our road map, it is time to have some fun and play around with some colour. Here is where we can start to use our brushes. By using the brushes, I suppose the painting takes a turn here by feeling more traditional and less crafty. (i.m.h.o.) Using a real brush !...We can now throw away the "crumpled paper" !
3 My choice for a brush in this step was a 1/4 " flat (soft). Using the flat edge and corner, and with reference in hand, I used this small brush to lay in the smaller bits of dark that would appear in the other areas of the painting. (such as the right mid side of the example) Bigger areas, a bigger brush . At this point, the painting looks not unlike a messy monochromatic painting.
4 Next, I started to place the the darker values of the individual objects, (trees, rock, pole etc.) working in and around different areas as I proceeded. All the while, keeping in mind, my foreground, middle and background. (aerial perspective)
I observe the suggestion of 'fat' over 'lean" as I place the colours and their values down.
I saved the brightest and lighter values until the final touches of the painting. Lastly, I put the "sky holes" in my trees.
The painting has now began to really take shape. ...We have arrived !
I am sure that there have been some "speed bumps" along the way that have left us to shift lanes left open to allow for individual decisions to be made about finding ones way to the finish. This can be a good thing !
I hope that my 'road map' has not left anyone lost on this journey.