While I’ve been working on a new big painting, 1×1 metres, studio cat Rascal has been sleeping on the storage heater. He’s a rather vocal cat who generally has a lot to say about what I’m doing (about everything, really), so it’s been blissfully quiet. The painting is inspired by the way the river in Uig turns and disappears, with the banks patterned by trees and shadows, where I was sketching again last week.
I’d done a few thumbnails sketches and pondered it quite a bit before I started sketching the composition on the composition. I tweaked it a bit with pencil, then took a pen to mark my final choice. (Added advantage: it also shows up in a photo! Added disadvantage: shows through transparent layers.)
Next up, lots of texture paste. I’m using Golden’s Light Molding Paste, which I like because it doesn’t shrink too much when it’s dried, it gives a more absorbent working surface and, as the name suggests, doesn’t add significant weight to the painting.
First colour on once the paste had dried, Prussian blue. My plan was to be painting dark to light for the first few rounds with this painting. Where it is in the top photo is where I stopped to wait for it to dry completely before resuming. Still a long way to go, but I’m pleased with the sense of the water flowing past rocks in the stream. It’s perhaps a bit too turbulent a flow, but that could be calmed down with some glazing. Tomorrow’s job is to decide whether to or not.
I’ve been vacillating with “Magenta Trees” since I took it to the dark side (see What Happened Next With ?Magenta Trees?), some days liking it as it is and others thinking it needed something more still. In bright light you’d see the variations in colours, but on duller days it was very dark indeed.
Enter iridescent white…
While I like it more, it’s back into pondering mode again as I decide whether there wants to be a touch of opaque white (titanium) over the iridescent. I’m not sure if it’s what it needs or whether I feel like doing it because it’s what I’ve done with another forest painting I’m working on and I like it on there.
Remember the magenta tree painting I started in June? Well it’s been stuck in “pondering stage” as I tried to decide what I would do with it. There were bits I really liked (e.g. the sense of movement behind the tree trunks), bits I didn’t (e.g. harsh darks), and various directions I could take it. About the only certainty was that I wouldn’t add any more paint until I had a definite plan.
After much procrastination pondering I decided I would take it for a walk on the dark side, rather than light, emphasizing shadows rather than sunlight. Why? Perhaps it’s the shorter days, perhaps thoughts about how well people responded to “Listening to Bluebells“, which is quite dark, but I’ve no real explanation other than that’s what I felt most like trying.
So out came a bottle of glazing medium, burnt umber and that favourite, Prussian blue. Why these two colours? Because both are strong darks, brown would enhance the sense of “tree” and blue “sky/rain”. The blue glazed over magenta would also give heathery purples, which that other favourite dark, perelyne green, wouldn’t.?This was the result; overall I’m pleased with the moodiness of it, but will do some more pondering, looking at it in different light conditions. The In-House Art Critic has proposed the title: “Plaid Glade“.
These four photos show this painting-in-progress I was working on yesterday.
Photo 1: Though you can’t see it in the photo, the sheep in the foreground and the cliffs in the distance had been ‘sketched’ in with texture paste, which is why I had put down colour on the sky, hills, and sea only. This having now dried, I started by adding yellow to the foreground, knowing the blue under this would show through, shifting it towards green. I applied the yellow directly to the canvas, then used a brush dipped in clean water and then some glazing medium to spread it around.
Photo 2: Without cleaning the yellow from my brush, I picked up some blue from my palette and let this run down, creating green. I added dark (perylene green) for the sheeps’ heads and legs, and applied a little to the distant hill. Then I started adding white for the sheeps’ wool.
Photo 3: I’ve added more colour to both the foreground and the distant hills. Permanent rose mixed with the leftover blueish colour on my brush/palette, giving a range of pink-purples, suitable heather colour. Then another round of white added to the sheep.
Photo 4: I’ve applied more dark to the faces (running the brush along the texture of the horns), and greens to the background. This wasn’t tube green, but created by mixing quinacridone gold with leftovers on my palette. Now it needs to dry completely before another round, which I’m hoping will get me to the “is it finished yet?” stage.
Given Monday’s Motivator to Keep Striving, I thought I’d share work-in-progress photos of one of the paintings I’ve been working on this week, one that’s been testing my resilience. Wildflowers are something that have bounced around my mind’s eye for some time, but a subject I’ve not translated into paint much. “Listening to Trees” was the first time I painted foxgloves to my satisfaction. My idea with this painting was for it to echo myforest paintings, but be only flowers. It’s a large canvas, 1×1 metre (about 39×39 inches).
The first photo shows where the painting was when I downed brushes yesterday. To my mind, very much still a work-in-progress that lacked oomph. It needed more tonal contrast, a stronger sense of sunlight, pinker foxgloves. The last thing I had done was to add a stronger dark tone using a mixture of Prussian blue, burnt umber, and perylene green. It was a bit streaky but once dry my plan was to do something similar with some “sunlight” and “blue sky”, then reassess.
How long would this take? Would it work? Doing it is the only way to know. I might make it worse, but ultimately that’s irrelevant as it’s not right now anyway.
Awake at four this morning thinking about this painting, I headed back into my studio to give it another go. I dug out some fluid medium, cadmium yellow, phthalo blue, and titanium white, then played around with very fluid paint and gravity. This photo shows where the painting is now. I like it more — it’s less static — but will reassess once it’s daylight. Studio cat seemed to approve though.
Update: I ultimately decided I did like what I’d done and made only minor tweaks.
I had promised the in-house art critic I wouldn’t touch this painting for a week (this is where I left it) but looking at it at lunchtime I knew what I would do next, and we’d discussed it extensively, so I played the exception card. (The rule being: don’t fiddle with a painting that is unresolved, wait until you have something definite in mind.)
First up, I darkened the sea, particularly the lower section, using Prussian blue mixed with varying quantities of glazing medium. I wanted what was already there to still show through, hence the glazing medium. Then I added a bit more white on top again at the shoreline. Using leftover white mixed with glazing medium, I introduced some mist. I did this in two rounds, starting cautiously, asking the in-house art critic’s opinion, then adding some more. There are also a few more sheep and some birds, though too small to see in this photo.
I’m now back into “don’t touch it mode”, pondering whether it’s finished or not. I suspect it might be.