Greens and Greens and Blues

shadows

“Shadows”; acrylic; 20 x 20″

Once again my backyard acted as model. But it wasn’t the landscape that captured my attention. Instead, it was the shadow in the lower right; a shadow cast by my studio. The shadow seemed to be leading the viewer in a specific direction and that direction was back into the woods, into the forest with its strong mix of shadows punctuated by brights spots of light.

Rather than being faithful to nature, I used my own color scheme – an analogous scheme which, to me, seems to create a quiet, peaceful mood. And I moved a couple of trees around to suit the composition!

Color palette for this painting was Nickel Azo Yellow, Raw Sienna, Napthol Red Medium; Transparent Red Oxide, Phthalo Blue (green shade), and Titanium White.  And the paint was applied with a brush, painting knife, credit card and shop towel. The challenge was to make a simple color scheme work by using a range of values and temperature shifts with the warmer colors in the background to draw attention to that area. The shadows seem to be on the outside of the forest; the woods appear more inviting.

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It’s All About the Scale

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Some days you can be bang on; other days you miss the mark completely.

This is a 20″ x 16″ oil.

Below is how I started. I painted a background then started applying poppy shapes with no indication of scale or even composition.

I wasn’t happy. So I stopped.

I switched to the canvas size above and focused on painting the poppy sizes in relation, in scale, to the size of the canvas and concentrated on a cruciform composition.

I’m happy now.blognewpic1

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Let’s Make it Hot

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It’s always a bit of a challenge for me, working with warm colors. I prefer the soothing cooler colors of blue, blue/green with perhaps a touch of color from the warm side of the color wheel. But these hot humid days in the studio have inspired me to try warming up my palette. I want to create a series of landscapes using predominantly warm colors to reflect the current weather patterns.

This is the first in the series. So far it’s an untitled painting and it’s 12″ x 12″ painted with acrylics. I used my current standard palette of Hansa Yellow Medium, Napthol Red Medium, Phtalo Blue (green shade), Titanium White, and I added Transparent Red Iron Oxide to the palette to create some deeper warm tones.

1

Here’s the first step to the painting. I randomly brushed the surface with some cool colors…just to get rid of the white…then I used a painting knife to apply light molding paste. The molding paste has a bit of tooth and would allow me to use drawing media like graphite or colored pencil on the surface at any stage. But as it turns out, I chose not to add calligraphy. The texture you see in the final painting is actually the molding paste.

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I covered the surface with a golden yellow then used an old, rough stain brush to apply the oranges.3

I think the hot colors gave me a headache! I toned down the surface here by drybrushing mostly white over the sky area and adding a blue path.

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Here I defined the path a bit more then brought some of that blue color up into the sky. To complete the image I added a few more lights, a few more darks and glazed the orange area in the front of the painting with several layers of Transparent Red Iron Oxide to tone and deepen the color.

 

 

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A Quick Look at Painting with a Knife

Look quickly. This video will take you through a painting from start to finish in three minutes. I only wish I could paint that fast! I wanted to show you how I paint several of my images using a palette knife and shop towel, and I wanted to show that process from start to finish.

I painted the background an all over red-orange to begin, thinking the color would glow through in the final product. It doesn’t, but I learned long ago not to fall in love with any particular color or shape in the painting process. It’s all subject to change.

The video shows how I work back and forth between foreground and background and how I soften some of the sharp edges using a shop towel (with a little water if I’ve left the paint too long and it starts to set up before I can manipulate the color).

I mostly work from light values to dark values. I mix the color value with the knife then just kiss the surface of the painting with the knife to apply the paint. I work wet in wet when I want the colors to blend on the surface but I’ll let the colors dry when I want crisp, clear color changes.

The painting is an 8″ x 8″ acrylic painted on cradle board that was sealed and gessoed.
yellowfields8x8
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Inspiration from an Image Transfer

At Dusk

"At Dusk", acrylic and image transfer on a 12" x 6" cradle board.

Somewhere beneath the layers of paint is a photograph of my backyard.

And what started as an image transfer became something else.

I wanted to create a soft spring look so I covered the surface with pale greens and yellows. But the image I transferred to the top third of the surface was a copy of a winter shot of my backyard; no snow but lots of bare trees and darkness. So I changed direction, changed color palette and moved the feel of the painting from spring to autumn using lots of Sap Green and Transparent Red Oxide.

The image transfer contained evergreens with a centre focus of birch trees. It was the birch trees that attracted me to the scene and it was the birch trees I wanted to save. But I felt the rest of the image could disappear. I kept some of the birch trees from the image but decided to expand upon what attracted me in the first place. So I covered most of the transferred image with painted texture using a painting knife and I built the birch trees out from the image and into the painting making them the subject. 

Only a small part of the original image shows at the top of the painting, buried under paint and texture inspired by the image.

 

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