I’ve spent the last two afternoons following along with an online class in gouache. It’s been fun. The main focus has been skies and their moods as shown by clouds and color and time of day and weather. For some reason the dark and stormy sky stayed in my mind’s eye, and visual memories of days of yore came back.
I don’t know about where you live, but here in California where I am, the clouds are seldom domineering and frightening like they can be in the tropics or midwest. I remember one day when I was about 9 coming home from school and the sky was nearly black with clouds. It was still daylight, but it was in the fall of the year and cold. It was eerie and scary and beautiful. All the colors in the surrounding fields and meadows and trees were brighter than usual, almost to the point of being unreal.
That is what I have tried to catch here – intense light, strange light and colors, a wildness waiting to happen.
Finally! I am dee-oh-en-ee. I took the painting I thought was sorta done, talked with my teacher, and we decided to add a few more flowers. So, I did, and signed my name on the left. On the right I have my digital signature.
I really enjoyed doing this painting. It is on 12×16 Fredrix canvas pad, primed with gesso, and painted over about a 3-4 week period. It is a pleasant break from monochrome – but that is for another time. Today, let’s enjoy Spring as we go up the hill.
I started this painting a few weeks ago, at the first class at the local adult school with a new teacher. This is from a photo I took some time ago. I was at the bottom of a hill, looking up.
This painting has taken a lot of time – several hours – but the work has been worthwhile. I have been applying the various principles I am slowly garnering from hours at the proverbial grindstone, memorizing techniques, concepts, whatever. For instance, I think this painting actually has a nice sense of depth and perspective – something I have struggled with for a long time. The light on the trees also pleases me, as do other bits and pieces of it.
I have also learned just through doing how to get the heavy body acrylic paint into a more viscous and enjoyable mess to paint with, and that is a big help! It’s a combination of matte medium, water, and the paint itself. I dislike the plasticky quality so often that accompanies acrylic paints, so even thought my colors are bright, I think they moosh together fairly well.
I’ll ask my teacher’s opinion when I see her next week. Meanwhile, here is (to my eye at present) finished work. Below is the photo which is the basis for this painting.
I am beginning to lose track of the days since I began this project since some days I do nothing, and other days I do a few.
Above is Day 14. Continuing to simplify shapes and masses into values, the above should represent a mountain in the distance. From there, mid-ground is a dark ridge before the mountain, and another to the right of the mountain, behind the mountain itself. The white blobs in the foreground area with sticks is supposed to represent structures. To me, they look like felled timber. Ideally, I think the mountain itself should be lighter to represent atmospheric perspective.
This is an attempt at a nocturne – a night time value study to see if I could catch the light of the full moon. The bush-like thing in the middle needs some lightening at the top. Overall, I like this as a start to something even though it is so vague – but that is how night is!
This is a view upward to the hill at the center of the local botanical garden. The white swath in the right foreground is the sand trail which winds around downward (behind the viewer) into the riparian woodland below.
I am not quite sure if I like the values as I have them set up here – nor am I really sure about the focal point of the drawing. It seems the dark tree at the top is too dark, but it could be a leading line down the hill to the tree with the cast shadow. The trail leads the eye. In a painting, this could work out with warm and cool tones in addition to values. Maybe I’ll give it a shot!
With Day 13 I tried to make my masses more simple and graphic. I am continuing this, and will for the rest of the 30 day challenge.
Some studies lend themselves to it more readily than others. Despite that, I tried to simplify in all three. Doing this makes Roberts’ admonition to “draw shapes, not things” easier to do. Distilling the more important – most important – into value masses seems to be happening (at long last!).
Again, it will be interesting to see where it works with painting.
The end of summer and the brilliant greens of summer fade to brown and beige . . .
Here, I just wanted to make a light painting with simple washes. Usually I go for really intense colors, and it took a bit of work to get the sky light, as well as keep the colors of the distant mountains and grasses paler than my normal approach. The sky was easiest as I just blotted up my colors with tissue and used a lightly damp brush.
In spring, bright new greens fill the world. In summer, greens are darker, interspersed with flowering crops and wild flowers. Color is everywhere, but all dotting a verdant landscape. In brilliant sun, the greens shimmer, but under the electric sky of a thunderstorm, the sudden bursts of sunlight render greens into a strange intensity . . .