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| 1) Working from memory and a drawing, I began this demonstration by roughly painting the scene's dominant and subordinate shapes. To do this I mixed a watery solution of burnt sienna and hookers green acrylic paint. I applied the color to a tinted brown sheet of 4 ply museum board using a #10 nylon watercolor brush. 2) Once dry, I began setting down layers of soft pastel over areas of the acrylic sketch. First, I concentrated on the sky region using various light tints of warm reds and blues to establish the desired mood of the scene. 3) Painting the sky helped me to define and describe the shapes breaking above it, objects like the foreground palm tree, telephone pole and distant hills. Next, I applied cooler colors to the distant hills to help separate them from the sky and those closer objects, like the orchard. Applying pastel to the foreground and near-foreground came next. 4) My first decision there was to remove the road from the original scene. I replaced it with interesting shapes organized to suggest the random growth of vegetation and areas of open earth. While it may look "random" the various shapes are, in fact, carefully choreographed to produce a pleasing effect and move the eye back and forth between the distant hills and foreground. My final decision was how much definition and detail should be given to the shadowy shapes of the foreground citrus and palm trees? I decided a "light touch" would be best, just a hint of detail, to suggest their volume and textures and to further insure the viewer's involvement in the painting. | |||
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