The patterns of the ploughed fields that are the inspiration for this month’s painting project (details here) have continued to capture my attention even as in real life they’ve become a different pattern with the greens of crops growing and present all sorts of other possible paintings. I’ve had a few attempts, feel that I’m getting closer each time to a result that pleases me as a whole not only in parts, but aren’t there yet.
For my first attempt, I absolutely had to use black lava paste to convey the sculptural and textural sense, but neglected the perspective in my, urm, let’s call it enthusiasm. After applying the texture paste, and without waiting for it to dry, I dropped acrylic ink onto the surface and sprayed this with water to get it to spread, then left it overnight to dry.
This is what the painting looked like when I conceded defeat, and lectured myself about why a bit of planning and thumbnailing can go a long way. I won’t repeat what the in-house art critic nor the peanut gallery had to say.
I like the effect the black lava paste gives, but need to have the patience to scratch in the perspective lines more carefully. Once it’s dry it’s not an easy thing to change. To help myself with this, I created a photo collage with various other reference photos, ready for the day I slow down with my sketchbook and make a considered study of the shapes, angles, and perspective. At the moment I’m procrastinating by calling it a project for winter.
My second attempt was mixed media on paper, trying to get a sense of the broken-up section adjacent to the furrows. The weather in my painting turned rather stormy, perhaps a reflection of my mood as things didn’t come quite come together for me.
My third attempt was also mixed media on watercolour paper, but I started by applying some gesso to paper to help create texture. This is a technique I tend to forget about, maybe because my bottle of gesso isn’t next to my paint tubes, but can be very effective. I decided to make more of the hedgerow on the left so the composition had more colour in the lower area.
Much of it was worked wet into wet, spraying acrylic ink to encourage it to spread, but also trying not to obscure all of the already dried Payne’s grey ink lines of where the hedge separates the two fields. I was pleased with where I got to with this painting, and stopped to let it dry overnight with the thought of adding a small farmhouse in the distance the next day. That hasn’t happened yet; I’m procrastinating by telling myself I need to practice some farmhouses first to ensure I don’t ruin this painting. Or maybe I’ll decide it doesn’t need it.