|"Waterfall" 36x36 oil/canvas|
In a recent post, I wrote about starting a large studio painting based on a variety of reference material. The painting is now complete, and it's taken me six days to paint it.
First, I arranged all my reference material, as you see here. The tablet holder is one of the best pieces of equipment I've bought lately. It is very stable. By the way, one negative to using a tablet for photo references is that it's all too easy to check e-mail. On the plus side, it's great for playing my Pandora playlist!
After the block-in, I went to work on the waterfall with a painting knife. To me, this was the primary center of interest, and if I couldn't get it correct right from the start, there'd be no point continuing. For this, I used only my pencil sketch for form and my 6x8 color sketch for color notes.
This would be a good point to mention the colors I used. My palette consisted of all Gamblin paints: ivory black, yellow ochre, raw umber, cadmium yellow light, cadmium red light, permanent alizarin, ultramarine blue and titanium-zinc white. I also used a little Solvent-Free Gel for my medium when I required a little extra looseness in the paint.
Next, I brushed in the hillside to the right of the waterfall. This is a more distant area in the scene, so I kept the painting more abstract; the contrast, low; and the color, cool.
As I continued to paint other areas, I kept in mind how I wanted to lead the eye around. In a way, I was working backwards from my center of interest along this path for the eye. The next step was the little area of sunlit rocks and grasses on the left, connected to the waterfall by a warm, green passage; and this was followed by the submerged but warm rocks in the foreground.
Below are some details shots, followed by the finished painting again.
|"Waterfall" 36x36 oil/canvas, finished state|