williampolm
phase 9
Elin Pendleton says every painting has its "the uglies" stage, and that field horizontally across the middle is not very satisfying to me. It looks good at about 15 feet away but not up close.
My policy in posting these phases is not to edit out parts that are less than best (or downright lousy!). So I am showing this.
I am beginning to model a little in the foliage areas, the field, the immediate foreground, and the dark trees and bushes.
I am realizing why it's good to go from dark to light in building a painting. The dark colors are often more to the transparent side, so painting them on top of lighter colors (going from light to dark) is a bit like swimming upstream. (For those of you who have known this for a long time, my apologies!)
Trying not to get carried away with texture.
I have been making a mistake in technique, and that is too thin color, perhaps a legacy of my years painting transparent watercolor. I have to notice this and consciously choose to mix thicker color, more opaque, especially in the latter stages of the painting.
Oh well, onward, and I trust upward. What a blessing that with acrylic, like oils (pastels, casein, gouache, etc.), you get second chances!
William Hook, an opaque style acrylic painter, advises us to scoop up thick impasto color with a bright (brush)--referring to the stage I'm delving into above.
Also, I think I prefer canvas somewhat on the rough side to this super smooth gessobord I'm painting on. It's noticeably harder to get textural brush stroke effects on.
Pigments: for the dark greens, Hookers Green dark, Cad. Yellow Med., Titanium white. For the middle-ground field, Cad. Red Med., Perinone Orange, white. With some Sap green mixed in. For the cooler bushes right under at the base of the buildings, I added some Thalo blue into the mix.
phase 9
Elin Pendleton says every painting has its "the uglies" stage, and that field horizontally across the middle is not very satisfying to me. It looks good at about 15 feet away but not up close.
My policy in posting these phases is not to edit out parts that are less than best (or downright lousy!). So I am showing this.
I am beginning to model a little in the foliage areas, the field, the immediate foreground, and the dark trees and bushes.
I am realizing why it's good to go from dark to light in building a painting. The dark colors are often more to the transparent side, so painting them on top of lighter colors (going from light to dark) is a bit like swimming upstream. (For those of you who have known this for a long time, my apologies!)
Trying not to get carried away with texture.
I have been making a mistake in technique, and that is too thin color, perhaps a legacy of my years painting transparent watercolor. I have to notice this and consciously choose to mix thicker color, more opaque, especially in the latter stages of the painting.
Oh well, onward, and I trust upward. What a blessing that with acrylic, like oils (pastels, casein, gouache, etc.), you get second chances!
William Hook, an opaque style acrylic painter, advises us to scoop up thick impasto color with a bright (brush)--referring to the stage I'm delving into above.
Also, I think I prefer canvas somewhat on the rough side to this super smooth gessobord I'm painting on. It's noticeably harder to get textural brush stroke effects on.
Pigments: for the dark greens, Hookers Green dark, Cad. Yellow Med., Titanium white. For the middle-ground field, Cad. Red Med., Perinone Orange, white. With some Sap green mixed in. For the cooler bushes right under at the base of the buildings, I added some Thalo blue into the mix.