As the Midwest and other parts of the world endure and enjoy subzero weather and snow and ice, it is summer somewhere in the southern hemisphere!
Where I am, it is neither; just a crisp and lovely day, with the winter light canted lower in the sky. I really enjoy painting landscapes, imagining myself in the middle of it all. I think I need to get into town, though – my hiking boots need replacing. 😉
It’s a pleasantly warm day today – bare feet and a nap on the patio kind of pleasant day. Still, I long for cold and gloomy weather, real winter weather. I know, I know – if I was living in the middle of it, I would think differently.
That said, a gouache in a more painterly manner than pointillism, up in the mountains somewhere, looking on to the distant dusting of snow. Gloom. Snow. Cold. Yeah! Don’t go wading in the river, either! Just enjoy it, and then return home to hot cider and a fire.
Our cold winter thus far has hit a low of 64F or so in the past several weeks. No snow, certainly; sadly, no rain, either. Perfect for the next fire season, which is becoming a longer and longer annual event.
So, I dream of snow, and pull up memories of living in upstate New York, hiking for miles across woodlands and farms in the early morning or early evening. The light slants, the air mists, and a winter wonderland becomes a magical world filled with rivers and creeks, trees, and trails left behind by others.
Take a look at this!
NOT a landscape!
This is really unusual for me – buildings and people intimidate me. However, by painting nearly every day I am gaining confidence in my abilities.
Also, the use of extremes in light and dark are another oddity for me, as well as the limited palette, the colors of which were primarily cad yellow and violet of some variety. White, too, along with some sienna, ocher, and ultramarine.
Painting really means learning a lot of things: how to use color, composition, brushwork. It is here that using a wide, flat brush to paint the buildings rather than my usual preferred rounds that I was able to achieve 90% of the painting. I was rather surprised by myself, and the result.
As summer fades away, the fires are burning along the west coast, and the clarity of the air has gone murky. This is when I dream of being somewhere along a river, with sun, blue skies, flowers and birds. I’m a country girl at heart, stuck in suburbia! (But there are advantages of the ‘burbs, too.)
I used Arches Rough 12×16 140# paper. The texture is not as smooth as what CP or HP provide. There is a lot more “tooth” which is great for dry brush and texture, such as in the foreground grasses and middle ground trees. I used one of my hake brushes for the general grass shapes, and a larger, harder brush for the sky. Before I painted any large area, I used the hake brush with clear water, letting it soak in a bit to help the paint to spread more easily on this rough paper.
In general, I am pleased with this painting. DOF works fairly well. I put in a building, too! For me, the most flawed area is the squared-off top of a tree to the left of the building – maybe I will go in later to correct it, but for now, I’ll let it be, cuz it’s time for a nap!
Summer is not yet officially here, but the warmth, sun, birds, and wind all make me long for a quiet spot to sit and relax. No nothing except the sounds of the natural world. Here, all the things I love.
Pastels just feel so natural. Get your fingers into the colors, dust, papers, blending. So tactile. I can’t tell you how many times I washed my hands here, but more than I would even with Covid-19 lurking around . . . . !
More work with water and light. Here I thought about some of the exercises I have followed from Rick Surowicz’s YouTube channel – lines, curves, and dots to capture branches, light, and leaves. I think this painting worked out quite nicely.
Besides considering what I wanted in advance (a way of thinking that has taken a very long time to get to) by applying frisket, I also was determined to paint from light to dark and use glazing and blending. Areas of color were also considered, and rather than trying to paint each leaf, I painted blobs of color to represent the foliage. As a result, I built up layers of color throughout the painting as I moved along, and can say this is possibly the first painting in which I have done this.
I also had to be very patient! Frisket is not happy when you blow dry it – it gets all sticky and you have let it set up again. As a result, this 6×9 painting probably took a couple of hours to do. However, the results, for me, were definitely worth the time it took. Perhaps my impatience is lessening . . .
More wet-in-wet work. This time, I paid a bit more attention to the details along with the wet paper and paint. I laid down washes, waited for them to dry, and then laid down wash upon wash. At times I lifted color out while still wet, too. It’s hard to describe what I did, but overall I was more deliberate in my approach to this painting, taking time rather than letting my impatient personality dominate. The result is a more successful painting.
Colors include burnt sienna, Hooker’s green, ultramarine blue, quinacridone gold, and perhaps a touch of sap green and cobalt blue. Limited palettes really help pull a painting together, as well as help you learn what colors, when mixed, produce what new color.
Brushes included a huge round for the main washes, and then a medium / small round, and a rigger brush for the grasses. I got the rigger as a Christmas present, and this is the first time I used it. I practiced on scrap paper, and can see why a lot of people like them! This one is a bit stiff and has a lot of snap to it.