Hillary Scott
My Inspiration
I discovered this freshwater marsh one day that became a perpetual source of inspiration. I painted it each season in different types of light, at various times of day and in plein air. Driving to this spot one September morning, I was struck by the surreal quality of the light. The overhanging branches gave an intimate feel to the space. The play of light at sunrise as it filtered through the leaves and shimmered upon the water, filled with algae and lily pads, was magical. I knew it needed to be captured in paint.
My Design Strategy
When embarking on a new painting, the first and most important question that comes to mind is: What about this subject is compelling me to paint it? The answer determines how it is executed. Once I realize why I’m painting it, visual issues such as: where the horizon line will be, the format it will be painted in, and elements to omit from the composition become clear. For this piece, I wanted to capture the light coming through the trees and reflecting on the water. To do this I chose to create a higher horizon line that would invite my viewer into the scene. Wanting to also convey the intimacy of the space, I decided on a square cropping. This was designed to eliminate much of the distant atmospheric tree line, reducing the depth and providing a closed in feel. Sacrificing some depth helped achieve this specific mood.
My Working Process
I start my concepts with small color studies, in addition to a plein air study in most cases. This enables me to exhaust all compositional possibilities and experiment with ideas. A successful small color study always proceeds any large painting I create. Once the color/ value/design problems are solved on a small scale, I begin working on a larger panel, utilizing the classical style of underpainting and glazing. Most of my larger paintings start with a brunaille in burnt umber, which establishes the composition and values. Compositions are blocked in with large shapes in correct values and the lights are wiped out with solvent/paper towels. I then work over the underpainting in many thin color glazes to achieve luminosity, allowing some of the warm underpainting to come through in the final piece.
Finalist
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