We are still in isolation mode here in Illinois. In my last blog I shared my process of a step-by-step painting that I thought would be helpful to you painters during this time.
Each painting is unique, so sometimes calls for a unique approach. If you followed along, you were aware that I worked in sections, rather than blocking in the entire piece–a deviation from my usual process.
The color and value you apply to an area in a painting is influenced by the color and value adjacent to that area. Therefore, getting rid of the "white" of the paper was the first priority. In the last painting, I had to know how each section would change when I painted the next section.
In this next painting, I will return to my more traditional block-in method, leaving some white space on the first wash, but blocking in major areas of the painting.
First, thanks to Dale and Marilee Popovich for the photograph–my inspiration for this painting.
What is it about a photograph that wants you to paint it? Is it the subject, the color, contrast, or details? I chose this photo to paint because of the contrast of the lights and darks, and the temperature change of warm and cool.
No photograph is perfect in composition. So I want to make some adjustments. Remember, the elements of composition are, balance, unity, movement, proportion and emphasis-B.U.M.P.E.
I did several sketches to create both a center of interest and the eye-movement that will carry the viewer throughout the painting.
"On a Winters Day" was accepted into the 2020 Illinois Watercolor Society's National exhibit.
I didn't change the composition much. Just simplifying some of the details and adding some darker rocks was all that was needed. Some photographic references need more changing than others.
I will break down the steps in my next blog. See you at the easel!