22 May 2017

My Landscape Painting Process Revisited

I've been offline for a few months.  In March, I took another course with Deborah Paris, Practical Color Mixing II.  It was a good one, I learned a lot.  This painting was a result of that course.  In it, I have applied lessons learned about the importance of color temperatures and how to apply temperature contrast to convey form, perspective, and interest. 

Back Country, 8x10", oil on linen


Today's post also shows how I developed the painting.  I got a lot of interest on the previous post showing my landscape painting process, so I decided to put one more out.  I used that same process here, so please see that post for more details.

Here is the original graphite thumbnail. It's an invented scene, based on my memories of the local back country. I was trying to convey a sunny, mid-day scene.  This was the first time I created a painting without a reference to work from.  Very liberating, and a big a-ha moment.

Original graphite thumbnail, 2x2.3"

Here are the notan and 4-value studies (discussed in the earlier post).

The 4-value and notan sketches

Before I started in on the painting phase, I made most of my color decisions...where to add contrasting color temperatures and gradations, where to put the highest chroma, etc.  More planning means fewer bad surprises.

Below is the progression of the actual painting, from monochrome underpainting, through the first pass of color, to the more-refined finished piece.

Here's the underpainting.
The first pass of color
The final painting

To check for value drift, I converted the final painting to grayscale and compared it to the original thumb (below).  Not too bad.  In my work, value control comes first, color comes second, so I'm always checking things with my little value finder.

Grayscale of the final painting

Original thumbnail

And finally, here is the framed painting.

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