This is the next stage for this little oil study on paper which I started earlier this afternoon. I've been working on the background and the foreground. Mixing in Raw Umber with white, blue and orange-red to create a gray field. The foreground has a little Yellow Ochre and some blue and Raw Umber. The little strip in the middle ground has a red- orange with some Raw Umber and some flecks of green.
The next stage will tie the whole image together. I'm planning a warm impure orange for the trees, with a tinge of pink and darks of Raw Umber with red. See how it goes......
So far I'm happy with the result and I'm eager to start the next session hopefully tomorrow evening.
I'm really excited about this new oil study on paper tonight. I looked around my drawers of oil paints and found my Raw Umber paint tube of color. I've had it with me for about 20 years now. It's a 150 ml tube and half way through. It's a great brown for the initial wash and preliminary drawing. I like the look of it already and can imagine so interesting color mixes using it. For this painting im aiming to have a more subdue background and foreground. I can image a quiet image a little bit like the still-life of the Italian painter Giorgio Morandi. I was privileged to see his work in Bologna, Italy a few years ago. His works are immensely beautiful, easy on the eye and the objects are central focus.
This is the finished oil painting study on paper. Today was the fourth session. I think it conveys a movement forward as I mentioned previously. I appplied more flecks of paint and color all geared to stutter the viewer's eye a bit. I'm happy with the surreal look of the piece. As painting can be an invention, I'm attracted to bending the possibilities of it. Sometimes the look and paint approach can achieve this if the subject is strange enough.Depending on the appearance of light and how it plays on shapes defining a subject, reality can also appear surreal.
My work is often from my head and I rely on memory and an arsenal of techniques and color play from years of experiments and experience. I guess a bit like a conductor of music who knows the sounds of all the instruments.
Ok this stage is my third little session on this oil on paper. At this stage I'm adding more color in smaller areas trying to blur the space in the background. Remembering that I want the picture to convey some movement. So the foreground is quite busy with lots of color and staccato brush strokes. Accents, swirls and dabs. All geared to push the image along to convey movement. The final stage will determine the attitude of the trees within this world so to speak. I like the idea of the first tree on the left to almost be ready to swallow the little tree beside it. I guess this is why ultimately three trees is an important number. This helps set up a kind of conversation amongst the three trees. It's the dynamics of the subjects that keep the image interesting. Simple subject, but it can begin to morph into universal themes or ideas.
Tonight I've started adding blocks of color all mixed with the various browns. Only the reds in the middle ground are purer. Keeping it all very loose and playable at this early stage. Still decisions need to be made to scheme an appropriate color palette for the trees. It all needs to marry together and be believable a world in itself. See how it goes from here. I do want to make the sky and foreground much lighter.
This is a new painting in its first stage. I thought it a good idea to demonstrate what I said previously about applying a very loose wash of browns first off. The excess paint was dried with some toilet paper. That way I don't get runs. The base is still very wet and will take any color placed over it. So here we have the trees in Burnt Sienna, the middle ground in Burnt Umber and the sky and foreground in Van Dyke Brown. See how it goes from here. I want the trees in this painting to look as if they are almost walking. Sounds mad but that's what I like. If its strange, i like it ! Good challenge then....
This morning I had the day off work and was eager to work on this painting I started last night. So far this oil on paper is my favourite. It's what I expected in terms of shifting my color palette into more muted colors of browns and grays. The trees this time are white however they still have a tinge of other colors in them. It's more shapely in an abstract way but still remaining very figurative or representational on the eye. To call this piece abstract would be wrong. Overall a good result and it's an important piece for future reference. I also introduced yellow ochre in the foreground. This helps to make the impure blues sitting next to the reds appear slightly violet. It's ever so slight, but does balance the palette. This painting is directly inspired by my recent monotype series, Three Trees, which I'm currently working on.
Yesterday I finished this study which I started about three days ago. I think it turned out well. I remember I wanted the trees to had a horizontal wind-like effect. I think a lot of movement was achieved by the brush strokes going across the tops of the trees. I like the suggestion of the landscape in shapes around the trees also. Studies such as this really free me up and give me a chance to experiment with shapes and color in variations on the surface. It's a matter of not being precious and working on paper is really perfect. So I can take the good elements from the study and apply them to canvas or linen later. At this stage I'm happy to keep producing small scale studies. My aim so far is to introduce brown into the paintings. It's not that easy after so many years not really using it in my palette.
Tonight I started this new oil on paper. It's a study for a landscape with three trees. This time I want to play with a very pale palette of color in the trees. The background has a wash of burnt umber and van dyke brown. All colours are laid over the top. The landscape will be described by an oval shape in the middle ground. The foreground pale and the sky section in muted grey blue perhaps. See how it goes from here. This study is referenced from my Monotype series Three Trees which I'm currently working on.
Was up so early this morning. My usual thing. Started this new oil painting on paper. It's a promising start I think.
Artist living and working in Melbourne, Australia. Paintings, works on paper. Mostly creates monotypes and monoprints