Painting Demo Part II

I begin to block in some of the color here, laying in the foreground so that I can gauge the values and temperature of the rest of the color. I want to emphasize these wonderful olive trees and the sloping hill. The olive trees are so distinctive in the Tuscan countryside. At different distances and in different light they take on shades of green, silver, and even blue/violet. But back to the painting; the ground is too dark. The light from the sky is shining directly on the places that are not in shadow from the trees, so I will try to bring out some more highlights as I progress with the painting.

Here I am giving a little more form to the foreground trees, and I lay down the color for where I will show some of the bare land. All of the ground is still too dark in my opinion, but I begin to lighten it up a little.   

 

 

Blocking in more of the painting, the distance is starting to take shape. I lay in very cool colors in the far distance, using blues and cool greens. In general warm colors come forward and cool colors recede, so I will start with relatively cooler, lighter colors in the distance and stronger, warmer colors as the eye moves forward in the painting. I still use slightly darker blues, (ultramarine, plus a dab of cad red light and white/ or ultramarine plus a dab each of cad. orange and alizarin crimson and white) even in the middle ground, as I can always add more local color later. I've also lightened up the ochre ground colors throughout the painting, which I think looks better and more convincing.

I start to feel more comfortable once the canvas is covered with paint and there aren't any unaddressed areas. Even if the value or color isn't quite right, it helps me to "see" the painting better if I can have everything more or less laid out. I have now indicated the buildings, more of the distant trees, and have added detail to the olive trees in the foreground, including giving them some more shadow areas. As I have worked in more color, you can see I've painted out some of the tree trunks and branches that were indicated before, so I will have to restate them again at some point.

As you can see, this is very much a push and pull exercise for me. Some artists start with the distance and work forward, and I used to try and do that too, but I always tend to want to lay in some of the foreground so that I can better determine what the distance will need.

Painting Demonstration: Part I

I thought I'd share some information here about my painting process in the studio. It has been raining and snowing for what has seemed like weeks here, so the photography may not be the best. The colors may not appear exact but hopefully these pictures will be sufficient to give you some idea of how the image looks.

Here is my inspiration photo. This is a picture I took with my digital camera when I was in Tuscany in the springtime. We stayed in Montalcino, in the southern part of Tuscany, and we drove all over this and neighboring areas. I think I must have taken about 1000 photos in all. I like using digital pictures because you can delete on site and don't need to worry about film. Plus, back home I can zoom in on details and see them directly in my computer monitor without having to go through the expense of printing the images unless I really want to. My photos are pretty amateurish, but I use them more as digital records to jog my memory of what I saw and sketched while I was there. The actual digital file for this photo is much larger, allowing me much more detail in the studio:

What I like about this scene: I love the lines and the layers of textures. What I want to emphasize. The buildings on the right and the olive trees in the foreground. What I will want to change: I'll reverse the direction of the lines in the front vineyard so that they don't lead your eye straight out of the painting. I will also simplify the buildings, both in the foreground and in the distance; leaving in what I feel to be important and taking out what I feel is distracting.

Here is a quick sketch of the scene that I will use to work out what I'm thinking about:

Okay, before you say anything, I can draw better than this! This is just a quickie sketch - a throw away drawing to cement in my mind what I want to focus on in the painting. It would be better if I had drawn a more rectangular shape, as this is the format I will use for my painting, but I just grabbed what was on hand at the moment of inspiration. As you can see from this drawing, I am still working out the composition. That grouping of cypress trees is right in the middle of the photo, but I will experiment with some other placements. My objective is to make an interesting painting that expresses my impressions and feelings about this beautiful land that I visited, not to make an exact copy of a photograph. While I want to be true to the subject, my first commitment is to paint a dynamic and harmonious landscape.

Starting: Nowadays I mostly paint on white canvases, though some times I still tone them with a quick wash of raw sienna or alizarin crimson. I mix alizarin crimson and ultramarine blue, and with this I draw with a round bristle brush just a quick layout of my composition.

 

 

I'll lay in the sky because this is usually the lightest/brightest part of the picture. I don't get into a lot of detail here because I want to keep it loose and things are still subject to change. However, I do want to have a road map in place, so to speak. My next step will be to start blocking in the painting and laying out my color. In the coming days I will post my progress on this painting...stay tuned!