It was another windswept day at the Palo Alto Baylands. I noticed a significant increase in wildflowers and variations in the colors of the landscape, including more yellows, yellow greens, russets, and violets. In this painting, I left more translucent passages than I have previously; in particular, the sky is all translucent and the water is mostly varnish wash!
Here is an example of the drippy, varnish wash I've been describing in previous posts. The wash is translucent like a watercolor painting. I will leave some of this wash in the final painting to provide a translucent contrast with more opaque passages of paint.
It was another cold, blustery day at the baylands. The clouds were moving, as were the trees, grasses, and water. It still feels like winter, these last few days. In this painting, I started with a varnish wash which is very fluid and drippy. After it dries, I add the next layer with thicker paint and allow some of the thin, translucent varnish layer to show through. In the sky, mountain, and water I used quinacridone red, cobalt blue, ultramarine blue, and carbazole violet. The lighter clouds have titanium white with a touch of cadmium orange. The trees are mixtures including: payne's gray, carbazole violet, and green mixtures. The foreground includes: carbazole violet, russet (mix of carbazole violet and cadmium orange and white), various oranges (hansa yellow orange, cadmium yellow orange), and greens mixed with yellow/oranges.
This painting started out as a very fluid oil/varnish wash of various colors. Much of the foreground is the original varnish wash! I am painting on mahogany luan panels that I've prepared with three coats of acrylic gesso. The size of this painting is 9"x12". The wash for the sky was rather light, so I painted over this with cobalt blue, ultramarine blue, carbazole violet for the sky and transparent red oxide/titanium white mixture for the clouds. Carbazole violet was brought into the foreground as a wash in some of the dark areas, in order to harmonize with the sky and darks of the trees.
This is the other 'blustery day' painting I refined in the studio. I intensified the sky with cobalt blue and brought this color into the distant foreground, along with carbazole violet mixtures and cool greens. I warmed the violets and greens as I came forward in the foreground and added oranges and yellows, as well. I left a great deal of transparency in the trees.
I'm continuing to refine three of the plein air landscape paintings I painted last week. This was another of the "blustery day" paintings. I warmed up the trees with touches of quinacridone red, as well as warming up the sky with this color. I'm working for a warm/cool vibration here in the sky, mountain, trees, and foreground. I cooled the receding foreground with blues, greens, and violets and brought the foreground forward with warm oranges, hansa yellow orange, transparent red oxide, warm green mixes, and cadmium yellow orange.
I refined three of my recent plein air paintings. This was one of my "blustery day at the Baylands" paintings, previously posted. I warmed the mountain with some quinacridone red, as well as bringing in more greens, violets, and oranges into the foreground. Some cobalt blue was added to the upper sky, as well as refinement of the clouds with violet and quinacridone red shadows.
I painted for hours today in my solarium. There's something about getting into the rhythm of painting where there is no sense of time. I love when this happens. I finished up a painting I started a few days ago at the Palo Alto Baylands. I was interested in the very dramatic, darker sky of that day. In particular, I'm drawn to the raspberry and blue violet colors in this sky.
It was a wild, blustery day at the Baylands today. There were about twenty of us out there, painting away while the wind blew. Several easels blew over, as well as palettes and paintings! It was exhilirating! I felt so alive! I was interested in capturing the big sky, dramatic clouds, windswept look and the beautiful greens, violets, and oranges of the foreground with impasto strokes.
I always wanted to be an artist. I love the materials of art: the firmness of a hog bristle brush, the creamy thickness of oil paint, the texture of bark paper, the smell of plaster. I love stepping into the mystery of creation; not knowing what is going to happen and being astonished by the image that emerges. I'm drawn to exploring the reaches of the
imagination and the orphaned off parts of the self. I like to see what bubbles up from the unconscious mind.