Well, here I am working away. I will show you a step by step development of a 10x 16 oil done on location here near Charleston South Carolina. Charleston is a beautiful and historic city. I show here with Ella Walton Richardson gallery.
The other day it was pretty cold so I wore this ugly jacket which I purchased on a previous trip. It was wicked cheap. It also looks like it was made out of a Hefty bag.
Here is the beginning.The panel looks blue because it was shot in the shadow, it is white of course. I began laying it in with raw umber. I often do a monochrome underpainting but raw umber is unusual for me. I have been fooling around with it lately. Burnt sienna would be more normal in my methodology.
I have continued to work out the drawing in grisaille, that is one color. There is no white paint on the panel. As soon as I touch the white I am unable to modify it as much and the
locked down, so I stay out of it at this stage. That means I can push it around and take it in and out easily with a rag and thinner.
I am using only yellow ocher, ivory black, burnt sienna, vermilion (fake ) and Prussian blue, ultramarine, titanium white, plus the raw umber I have already mentioned. I am making my greens with ochre and my two blues. They are not very green and I am pushing the burnt sienna and the vermilion into them as well. If I had cadmium yellow and viridian I would paint them much more
saturated and far more like what was actually out here. I don't want to do this so I have stripped back to the is a a mostly earth color palette.
Now I have painted in the sky with white and yellow ocher and then Prussian blue over that, to leave the clouds behind. I like to paint sky's with a warm note first as that way I know it will be there. Amateur painters use only blue and their sky's have no light. There will always be enough blue in a sky if you use any. The feeling of light comes from value and the warm colors you include.
Here is the thing a little more refined. I have added a little bit of pthatlo green to my palette for use in the reeds. I don't want them the brown color they are in reality so I am greening them up. I only used a smidgen with ocher and only in the reeds.
Now I am finished with the outdoor part of creating this painting which took about four hours. I will work on it some more inside. Maybe I will ruin it. Maybe not.