Had a great 6th working session on this landscape. As I mentioned previously, I wanted to neutralise some of the colors to push them back. I mixed up Ivory black and white to make a grey. With this as my starting color, I could mix all subsequent colors to tone them down. Desaturate the intensity of a color. I also daringly used the grey straight and painted a few areas as solid shapes, particularly around the figures and in the left foreground. Still always feeling my way around the canvas, dabbing here and there. Keeping the whole picture in mind and not getting bogged down. This session was productive as I worked on the trees and the sky. The cloud on the left was a bit unresolved in my mind, so I needed to give it a revamp. Be bold and gutsy. I've added a brighter purple area which plays well with its complementary yellow-orange.
In defining the trees, I wanted to introduce a warmer palette of reds and browns. Combined blues to contrast such as Prussian blue and cerulean. I must say that for many years I haven't used Paynes Grey. I forgot exactly what it looked like when mixed with other colors. It's a color that when mixed with white is a kind of neutral blue in hue. It's a unique color and is very useful in mixing with brown and red to make an interesting and intense black. Also great for making a dark purple violet. Used with yellow it makes a dark tone green. Adding white is another fantastic gamut of lighter tones. In the next session I will try to mix some interesting green tones using Paynes Grey and Ivory Black. Also I need to pay more attention to the figures on either side of the picture. I'm still considering what the attitude should be. At this stage I'm still keeping everything fluid and open for reworking if need be. Remember at the beginning I wanted to keep a lot of the white areas as white ? Well, as you can see in the process, I needed to reconsider that idea as certain areas in the picture just didn't work as unpainted or painted white especially in the background. Too jumpy and distracting I felt. I like the idea of the painting as having no shadows in a traditional sense at the base of the tree trunks. They instead shoot up from a white ground and seem to abstractly pop up.
Artist living and working in Melbourne, Australia. Paintings, works on paper. Mostly creates monotypes and monoprints