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Finally getting to fixing up our backyard and making it usable. Phase 1 - I removed all the rocks from the first box.
brickwork is done. j wasn't happy with it. may have said that he could have done just as well and he's not a professional. BUT IT'S DONE!!!
when i left for work, the guy there was tearing down old tyvek. i don't know what i will come home to. siding? flashing on the roof? soffits? it'll be a bit surprise.
j is supervising today because i did not want to be responsible for work that was not done to J's expectations.
my FIL is also there to make sure that J doesn't pummel someone.
good times.
the custom is longer and rougher than the brickarms one, but thats to be expected. i think i like the brickarms one better.
The phases of the planet Venus are the different variations of lighting seen on the planet's surface, similar to lunar phases. The first recorded observations of them were telescopic observations by Galileo Galilei in 1610. Although the extreme crescent phase of Venus has been observed with the naked eyes, there are no indisputable historical pre-telescopic records of it being observed.
Valery Shpak - weddings and events photographer from New York Film & Digital productions @valeryshpakphotography
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.