11 May 2007

Glastonbury Tor, day 2

I was most nervous about this painting, after the underpainting looked so... well, choppy. And, this is a more complex painting that the Avebury scene that I'm working on at the same time.

When I stopped and looked at this from across the room, my fears vanished. Well, mostly. It's a good painting. (My original photo is immediately to the left of my painting.)

I'd guess that there are still a few days' work in this painting before I decide that it's finished. In addition, I may let this sit--over the weekend--so the paint will start to set.

That serves two purposes:

First, it makes it easier for me to work fresh colors into the painting without disturbing the existing paint too much. In some cases, I'll want to lay the paint over the existing colors. But, with a little elbow grease, I can work paint into the still-tacky layers.

Also, I'm really happy with how this looks. So, if additions to it don't work on the first try, I can carefully wipe them off without disturbing existing work very much.

If you compare my work today with yesterday's underpaintings, you'll see what I'm doing with color. I won't keep posting my work, step-by-step, for every painting; I'm mostly doing this to share the process. This underpainting technique generally works best with oils. Acrylics dry too quickly to get the exact same effects. (That said, there are merits to underpainting acrylics. They're simply different merits since the painting techniques are also different.)

I think that this has been a very good day for art. Even better, I accomplished this during the brief time that we had full sun. I need sun to get the colors right, and I thought that today might be a no-painting day when I saw the sky.

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