My Art in the Mak­ing #1

International Artist - - Representing The Real -

STAGE 1 I start with a be­nign grey­ish sky color and form in some tree shapes with un­du­lat­ing land drop­ping down in front with warm and cool col­ors. I use the fan brush and keep it thin. Aim is to get a rough scene blocked in. STAGE 2 Bol­ster the block el­e­ments with a mid­dle value green in an­tic­i­pa­tion of ar­eas in shadow and in light. The fan brush is the tool of choice. I work fast to keep a sense of spon­tane­ity in the paint­ing. The trees are mauve but may change as is the un­der paint mid-fore­ground. STAGE 3 Most of my strokes are short ver­ti­cal, up and down, of­ten twist­ing at the same time. The hairs on the brush part into batches and with the ac­tion I use leave mul­ti­ple stroke lines rather than one. This adds to the ap­par­ent dis­or­der. STAGE 4 Now I have most cov­ered and I clear away an area for the fig­ure to be sketched in.

I am ef­fi­cient with my time in do­ing this and it is im­por­tant I do this at this stage leav­ing the rest of the paint­ing un­der­de­vel­oped es­pe­cially in high­lights. We don’t want to put the fig­ure in too late. Early is bet­ter. STAGE 5 Now to the run home. Up to now my range of col­ors was lim­ited but to get a sense of real “pop” I bring in three new col­ors: Rose Dore, Cobalt Turquoise and Bril­liant Red. The two reds com­bine won­der­fully with the blue to yield some beau­ti­ful shades of red and blue mauve. The fig­ure is fin­ished us­ing the liner brush and my “wet on wet” tech­nique ex­plained in pre­vi­ous demon­stra­tions. STAGE 6 Now this is a real bouncy tonal look­ing paint­ing with plenty of zing and pop to it. I’ve de­lib­er­ately done this to a time of two hours to make my­self be fast and fu­ri­ous. There is lit­tle real de­vel­op­ment of flow­ers or stems and leaf shapes but from the all-im­por­tant 10 feet I have done enough for the eye to join the dots and see them. Nice im­pres­sion­ist type paint­ing from just two brushes. Mauve com­po­nent is about 30 per­cent with the shift to its part­ner blue about 40 per­cent.







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