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.
Early last summer, or late last spring, I visited a park with a friend. It is in Los Angeles, above the 118 freeway, so if you frequent the area you might recognize the photo (below) and the painting (above).
It is the kind of park I like – open, easily accessible, and then winding away from the city into the canyons beyond. Since my friend cannot get too far, we never have gone deep into the canyons, but perhaps one day I will go further than I have. It has some lovely tended areas and then wilder areas, but what I particularly enjoy are the oak trees.
This is the view from the pathway returning to the city, and this tree never ceases to find a soft spot (hopefully a sharp spot with good focus in a camera!) when I visit. I think we all have trees or buildings or places we enjoy revisiting.
This past spring in California has been one of the most stunning I can recall. A long period of rain, extending deep into May, produced a situation in which flowers bloomed, and bloomed, and bloomed. There are still traces of colors – golds and yellows mostly – on the hills when normally the color is beige and dead. The richness of the wildflowers made the landscape, whether on the hills or under the trees, in the meadows or alongside the freeway, a wonderland of color. I am still sorting out photos and memories as sources for paintings.
This is an underpainting for the gouache painting I did today. Wildflowers under the oak trees along a local trial – lupines, wild cucumber, white and yellow flowers of known and unknown species. Here, a la James Gurney, I decided to do an underpainting using casein paints. He suggests casein as the underpainting as it cannot be picked up, as can an underpainting of gouache, once it dries. It primes the paper, too. While the smell is rather gross, the substrate it creates is stable and I rather liked using it, not just for what it did for the paper, but to lay in some values as well.
From there, I moved into remembering – thin layers to thick in gouache, building to lighter colors and thicker layers as you move along. I’ve watched a number of videos on YouTube to get a sense of the process. In particular, I have enjoyed the videos on gouache by Sarah Burns. It’s rather strange to me, but it worked out. Below is a painting of blue-eyed grass and white flowers under the oak trees in this stunning California spring.