.....I love doing them. For a while I thought it was 'showing off' but realized that it never felt like that because I'm seldom satisfied with the results. It feels like my energy and visual acuity levels go up when I've got a bunch of people expecting something from me....and I like to make people happy.
I began with a ten or twelve minute marker drawing just to scope out the shapes of light and dark masses and get a composition. It mimics, but doesn't attempt to accurately copy, what I'm looking at. And, while I'm at it, there is still a place left for my Marker sketching workshop on Saturday. Go HERE for details.
Nancy seems to be my official photographer and took some photos of the process....about two hours. For the painterly minded, I use mostly Rembrandt paints supplemented by Utrecht, Windsor and Newton and Gamblin where necessary. You can see me using a large 'egbert' style brush during the blocking because I like the unpredictability of it. The rest of the piece uses Silver Bristlon Flats in various sizes. It was done on a masonite panel with three coats of Utrecht gesso applied with a roller and lightly sanded between coats.
|Loosely sketching it in.|
|The 'egbert' establishing initial color and tone.|
|Competed blockin, moving to value and color adjustments.|
|Close to the end, just before the final adjustments and doodads.|
Every time I think I am going to be more reserved in my color and looser in paint application, this kind of thing happens. The first plein air painting I completed was at a week long workshop. I spent the whole week working on it. I knew I had gotten to the limit of my painting skills at that time. The instructor, Ron Lukas, came around and, after staring at it a bit said, 'Well, you sure aren't afraid of color.' and walked away. To this day I'm not sure if that was a compliment or a subtle suggestion. Ron was like that.
Thanks for looking. See you out and about.