These are a few of the studies I’ve done recently; in each I was trying something specific or remind myself of something. Often I work on a pair together, aiming to push the one a little further than the other. I find mounting makes me see the piece more objectively and assess it more critically, not least because you have to decide where to crop the painting with that sharp, stark mount edge.
In this sheep study I was trying to work wet-on-wet in the clouds, letting the white paper do its thing. The danger is my tendency to overwork it, then needing to use white acrylic or gouache to rescue it. The very dark bit of blue echoing the shape of a bird (or perhaps sheep’s ears?) was a ‘happy accident’.
With this woodland study I was again working wet-on-wet, trying to use the white of the paper as an integral part of the painting, rather than covering it all up as I would do when painting on canvas. I was also trying to use cobalt blue for sky, rather than my more usual Prussian blue. Overall the colours are? softer and softer than my ‘usual’, like colours muted by mist (hence the title).
With these two tree studies I started with a layer of thin quinacridone gold, which gives the glowing light gold in the background and the deeper orange-golds on the trunks. I wanted to create a sense of wintry sunlight where in the afternoon it turns the landscape gold but it’s not exactly warm. So warmth from the quinacridone gold background and cold from the top layer of blues on the edges of the trees. The second study I used more blue; still deciding if it’s too much. Colours:? quinacridone gold, cadmium red, perelyne green, Prussian blue, cobalt blue, titanium white.
I’ve been in the mood for tackling another large flower painting, along the lines of Listening to Daisies. These two studies were intended to remind me of how I’d painted that: the layering, the colours,the refining detail from chaos. The second one I tried to add stronger darks, for more tonal contract, something I ought to have done at a lower layer.
These paintings are all now at Skyeworks Gallery (?49 each).
Not shown are the other half dozen studies that ended up as a muddy confused mess or didn’t get anywhere near anything sensible that are still pinned to my easel. I’ll have another round with some, overworking with opaque or semi-opaque colours; the rest I’ll
save for when I need something to rip up in frustration abandon.