Thanks so much you guys - I've had so many flops lately and you make me feel that all is not lost!
About the Viva towels, yes they work very well with a minimum of fuzz, especially on the 500 and 600 grit of UArt. For this one I used a little piece of Glad Press 'n Seal because I found in a cupboard in the kitchen and never used it like it was intended. It has a slightly sticky side - not good - and a slightly textured side - very good for lightly rubbing in a layer of pastel with no loss like you get with a paper towel. It's kind of a pain to use though - it crinkles up very easily. I just make a smooth spot with it and leave it on my finger until I'm done. If you have some of this in your kitchen you can give it a try but I'm not saying it's worth a trip to the store.
Here's what I learned:
Don't rush the underpainting. In a scene like this where the light on the branches was the main attraction, I needed to know where the lights and darks needed to go. If I wasn't able to return to finish this my 'color notes' would have been a big help. By placing the right colors on the right value areas of the underpainting I had enough information for a studio finish. I envy those of you who can do a loose watercolor underpainting and then get to work. I guess I need more structure.
Don't go on autopilot. The upper branches were getting as much, or more, bright sunlight than the lower branches - my intended area of interest. I started putting the same light yellow-green up above as I had below and then froze. Just because it was that way in reality did not mean it was best for the painting. I switched to a same-value green but in a more neutral color. I have several that are kind of dull and don't fit with the warm or cool greens. I've read about using the greyer, duller colors to keep certain areas of a painting quiet and this idea is finally sinking in.
Pay attention to weird things that catch your eye. On the sunlit trunk, about 2/3 of the way up, there is a little piece of a broken off branch that had the most interesting orange glow where it didn't seem possible. How could it be orange on the underside when it was technically in the shade? I eventually realized that the color must be reflecting up from the bark of the tree. I had to look really long and hard to see it but it was there. As soon as I added some of that orange to the trunk the tree seemed much more alive. I'm glad I didn't rush and took the time to notice that. This is the kind of thing that doesn't show up in the photo but makes a big difference in the painting.
The more I do this the more I realize that I have lots of learning to do. I will try to stop beating myself up for not painting as fast as others. Learning to paint better, not faster, is more important to me right now.
Donna
Today was another beauty so back down the driveway I went at the right time. I promised myself not to fuss! I did a lot of squinting and tried to keep it fresh looking. It looks better from a few feet back and I forced myself not to tidy up too much. I actually like the areas of the underpainting that show - they kind of fill in for a lot of 'stuff' that I chose to edit out.
C&C most welcome.
Bill
Wonderful! Such a good post! I will be back to see the rest. Didn't know you had Pines in Maryland, they look like ours here! See you next post!
Linear Mode
