Here is a step by step of the painting I did today. Here I am continuing to work up the painting using umber and a little medium, manipulating it with a rag. It was pretty gray out so I was able to work almost all day on it. On real gray days the light doesn't change too much so I am able to work on it much longer than I could under the changing light of a sunny day. The panel I am working on is an 18" by 24" piece of oil primed hardboard.
I returned and set up at the location for the day.This painting was not made from the photo references you saw yesterday.
I have moved slightly forward of the point where I shot the photos I showed yesterday and I have followed my plan by removing the phone poles and making the road into a gravel rather than a blacktop road. That minimizes it in size and assertiveness both.
I worked up a pretty well thought out drawing , shoving things around until I had an arrangement that I was comfortable with. As always, at least for me, shoehorning the immensity of the scene onto the small canvas was the challenge. I also worried a lot about putting the house and tree unit into the landscape, rather than painting the house and tree unit, and then surrounding it with the landscape.
Above, I have continued to develop the painting adding color over my grisialle under painting. I worked that thinly and used Galkyd so it was pretty much dry. I put in a sky based on what was happening at the time that I thought looked good. I always give the sky a shot on location, but often I end up redoing the sky in the studio.
Here is the painting as I brought it home tonight. I wish I was able to tune the color of things in photoshop express a little better. When I am offered the ability to fool with the color I can adjust red, green and blue. I am sure there is a reason why I can't adjust red, blue, and Yellow, But that is the way I think. If any of you out there can tell me what the deal is with that, I would appreciate it.
Below is a detail of the middle of the painting so you can see my brushwork.
This painting is earmarked for the gallery of CNY in Cazenovia, New York. I will work it up a little in the studio, but I don't expect to do to much to it, as it has a nice rough and brushy feel to it now and I don't want to refine that out of it.