I needed a change of pace – a way to relax – after yesterday’s very intense painting of buildings and people. It’s nice to visit familiar territory. But, I was not without goals. Here I worked on subtle gradations and color change in the sky; misty / soft trees in the horizon using moist paper to blur and indicate distance; a couple of buildings with subtle rooftops; snow. On Arches CP 140#, 9×12.
About six weeks ago I started this painting and then all the chaos of insurance and plan choices and lost mail brought most of my creative life to a screeching halt. It was emotionally exhausting in a lot of ways, but those details really are not important today. Instead, this painting is finished at last!
Details first: acrylic on gessoed 16×20 CP Arches 140# paper. Borders of paper taped down all the way. I probably spent about 10-12 hours on this painting.
There have been multiple iterations of this painting. In the original, a tree was in the right middle front foreground. That disappeared last night. Then the road, which disappeared dead center, was reworked and made visible through the trees this morning. The suggestions of vineyards in the background disappeared, too. Too many stripes – I was looking for a zebra.
To finish the painting, I decided to work in middle of the night last night, and from 10:30 pm to 2:30 a.m. I painted out nearly everything except the blobby middle that I knew was not what I wanted. My husband, who is no art aficionado, always has good advice on painting problems. He and I agreed on the issues. So, this afternoon, I spent a few hours working and reworking it until you see the finished result above.
I have not done a lot of painting in acrylics, but each painting I do brings new experiences. I still tend to be a dabber, but am working to think about how I move the brush more, such as long horizontal or vertical strokes, or suggestions of something with just a blob (not a dab!) of color. I need to work in acrylics more to build more confidence in my brushwork.
So, here you are, on a gravel road in the backcountry, enjoy vineyards and olive groves, somewhere in a Mediterranean country on a hot day in summer.
While we have not had much rain this year, the countryside still has fields of wildflowers, mostly lupines and poppies.
Today, I decided to just paint, not think too much, to see if I could get a good sense of value. I did a couple of paintings. I used hot press paper, whereas I normally use cold press when I paint. I tried two different brands, and the Arches won out.
Winter in California usually brings rain. So far, nothing. The grassy hills die down to beige and brown, the oak trees are dark spots against the pale grasses. It’s a beauty of its own. Here, the beginning of a sunset casting its warmth on the peaks as the day ends.
It was quite interesting to do so as I used the same paper I used for my gouache, but the paper had less tooth than my usual CP watercolor paper, being more like hot press, which is very smooth. This was American Journey paper, which is very nice, and is somewhere between HP and CP for texture. This makes a difference when painting with watercolors.
Once more I feel like my DOF is not working in watercolor. I am not quite sure why, but it seems to be I lay down a color and then lay down more, and more, and even more for the distant objects. Unlike gouache, watercolor’s transparency makes each succeeding layer darker. At times a glaze of very thin color can pull a watercolor together, but not here. The dark distant hills on the right suggest a spot of cloud shadow, and the brighter one on the left a bit of sunshine. The sky suggests otherwise. And it looks like there is a sleeping or dead sheep in the field on the right!
There are bits and pieces of this painting I like, and the colors really do evoke a rather damp day when autumn is beginning to set in. The fact is, I find watercolor inherently more difficult than gouache simply because more pre-planning and strategizing than with gouache. This why I enjoy watercolor so much – it is so hard! The colors are just wonderful at times, and that is one of the joys of watercolor. Gouache, while beautiful, when done with less water and thicker paint, doesn’t have some of the same light as watercolor
So, for the sake of comparison, I am lining up the value study and gouache from yesterday with today’s watercolor. Click on the value study below to click through the three if you want to do some comparing.
Maybe a pastel should come along tomorrow?
Since I had all the pastels out from Tuesday’s class, before I straightened up the mess in the studio, I decided on another study. This time, the oak-covered hills of California. In spring, the hills are brilliantly green, often covered with wildflowers, such as poppies and lupines. As spring gives way to summer, the heat comes, and the grasses dry out. Perfect conditions for all these dreadful wildfires of late . . . Anyway, the coast can be socked in with the summer fog, but inland, the hills are under the brilliant sun. As you look toward the Pacific, you can see the “fog monster” lurking on the other side of the range.
Hard to believe it’s been two weeks or so since I was last online.
Life has been busy, but in reality, the weather has been awful! We have had a heat wave that knackers you – 100+ F, and even worse further inland. Temps have ranged from 95-111 in the vicinity where I live (35-43C). Ugh. As a result, blobdom has reigned as the primary mode of existence and, sadly, some binge watching on the TV in the air-conditioned house. I guess we all have to do it.
Despite that, I have met with a pencil portrait group in a local park and have enjoyed those mornings. I have also done some sewing. And mice chasing, but no catching. Today I cleaned up the mess I call a studio.
And finally, I have sat down to paint. I wanted scudding clouds and changing light – movement from bright to dark across the hills and the sky. Wind, too. Anything to cool off.
This is reminiscent of the foothills in California as they give way to the Sierras. Here, I used a hake brush about 2 inches wide to render everything – land, sky, trees. Most was wet-in-wet, but the blobs of bushes and some of the trees were done on a dryer surface.
Malibu State Park is a vast area that spreads out across bits of Ventura and Los Angeles Counties. You can feel like you are lost in the wild west. What is so enchanting about it is the land itself – hilly, flat, study with oak trees, a creek or two. It’s a great place to hike, to explore, to do photography, and to paint. In spring it is stunning, and after a rainy season you can walk through fields of butterflies. In fall, the sycamores change color, the grass is brown, but the hills can remain green. Definitely a land of contrasts.
I decided to use a study by the watercolorist Vernon Nye. He caught the back country of California perfectly – the hills and trees in particular. It was a fun study and I liked it because it pointed out to me how deceptively simple the hills can seem, but they really are not. The road, too, was another eye-catcher. I have driven along a number of back-road highways throughout the state, and you feel like you are the only person in the world. The perspective was a great challenge, too. Altogether, a good study of something in my own back yard, and I can take what I learned into future paintings.