Tuesday, November 30, 2010

what if and other things

5x7 pastel study
Early morning again, done on my way to school. I noticed a small piece of land wedged between homes. The light was fascinating. Sticking to a triad of secondaries; purple, green and orange, in uneven amounts, the landscape carved itself out. A tiny bit of frost and a somewhat weak gold light made a November landscape with a tiny bit of mystery.
I don't know if I have mentioned  that I teach "art"part time, young children. One thing about teaching young children is it keeps your mind WIDE open. There really isn't a right way: there are many right ways. A young child approaches her/his work with a wonder....... what if I do this? or this instead? I approach my work the same way. I am fortunate to have the job I have. Yes, many days I long to not have any other constraints on my painting time, but mostly I am grateful to have a teaching position I like and a daily schedule which includes at least 6 hours of studio time. Lucky me.

Monday, November 29, 2010

sky- sunrise, cape may

6x9 pastel on somerset
In Cape May this weekend I  was mesmerized by the morning sky over the ocean....not the ocean but the endless sky.  The sand completely absorbed the colors of the cloud's pink light. Keeping in mind that skies are simply vapor, the edges are loose and the yellow gold glow from behind finds its way through in many places. The one darker area in the cloud was necessary to create deeper space.

Sunday, November 28, 2010

Deborah Paris: interview, part three

Morning on the Flats by Deborah Paris
Deborah- When I was trying to learn to work with glazes in the landscape I turned to Lynne Windsor. (See my interview of Lynne here.) She worked that way and we both lived in New Mexico at that time.  I had been painting plein air in an alla prima style and I had been investigating ways to create the idea I had. I asked Lynne, "Did she use an underpainting and glazing?" I still have the email she sent me. She had written a detailed email full of information. I was delighted! It had been so hard to find information. I knew that I needed to go back and read about all the old techniques. I needed to understand the hows and whys. I worked and worked, gradually I started to figure it out. At this point I was working in pastel and oil making the transition to oil only. For another year I worked on the problem and I figured out that I would get more luminosity if I used a transparent underpainting. I really started paying attention to transparent paint and the optics involved. I now finally understood why it created different looks-optically. Other aspects of painting started to come together: composition and color harmony being the two most important.

L- Which artists past and present do you admire?

Deborah- Of course George Inness tops the list. John Constable, Corot, Sanford Gifford (big turning point when I saw that show!) Hard to say which contemporary artists I would like to add. There are so many fine artists working today, I wouldn't know who to pick.

L-How do you keep motivated when it gets tough in the studio?

Deborah- I just keep working, usually on another painting. I find that if I shift to something else I can get out of the stuck space. In addition I have learned so much because I work on more than one painting at a time. If I have a problem, oftentimes I find a solution in another painting.
Sometimes a bad day means- take a walk.

L- What is your daily routine?

Deborah- I have very regular studio time. I begin work at 9:30 and finish at about 5:00, seven days a week. I will often answer my emails and respond to my online class questions and discussion before I begin. In the evening I work on my class, research for posts, read or write. During the day I will leave the studio to go for a walk.

Check out Deborah's site. Sign up for one of her marvelous online courses!!

Saturday, November 27, 2010

early morning painting and Mindful by Mary Oliver


This particular Mary Oliver poem delights me every time I read it. It makes me think about we, as artists/creators of the beautiful, do each day.  Isn't that out job?...to find something where someone else, less tuned, less mindful passes by. We take that one moment and let it shine.

Mindful


Every day
I see or I hear
something
that more or less


kills me
with delight,
that leaves me
like a needle


in the haystack
of light
It is what I was born for-
to look, to listen


to lose myself
inside this soft world-
to instruct myself
over and over


in joy,
and acclamation.
Nor am I talking
about the exceptional,


the fearful, the dreadful,
the very extravagant-
but of the ordinary,
the common, the very drab,


the daily presentations,
Oh, good scholar,
I say to myself, how can you help


but grow wise
with such teachings
as these-
the untrimmable light


of the world,
the ocean's shine,
the prayers that are made
out of grass?

Tomorrow, you may look forward to Deborah Paris, part 3 interview. She loves Mary Oliver's poetry as well. Who doesn't?

Friday, November 26, 2010

dusk and the nature of light

16x20 oil on canvas
Dusk is a time for close values. The sky is the highest value, although, depending when you paint, its hot color is quickly beginning to be neutralized. In this painting the sun is just below the horizon and the land is cooling. Right at that place where the sun has set  the sun has left its hot footprint. My husband looked at it and said, "It's blurry." Maybe it needs a sharper edge? I am not sure.  I guess I need some space from it.
From what I remember of dusk and light is that light makes the shapes and as light fades shapes do too. They are no longer sharply delineated. The next question is what makes a painting that you want to look at? Draws you in to its secret mysteries? That, I may always search to understand.

While I struggle with these deeper issues, enjoy some kitty pics. They are growing fast. Luchi is a total rascal and Baby is a lap cat.
two kittens in the curtains

baby

luchianna

Thursday, November 25, 2010

a warmup in fog

6x9 pastel on somerset
I was zipping along on my way to teach yesterday and the fog was getting thicker on Beach Drive. I only had 25 minutes. My goal was simply to get an impression and keep the color harmony. Later, after teaching I returned to the studio charged up for more. It doesn't take long for a warm up: it's just about doing it.

Happy Thanksgiving!!!!!

Wednesday, November 24, 2010

dense fog before daybreak

6x9 pastel on somerset or BFK (not sure)
Fog, especially dense fog is really about the abstraction of shapes and value control. Edges play a role as well. Note how my stronger edges are in the forward mass tree shapes and how little information is given in the next shape, very soft. I did this one at about 6:30 am, which would me that the sun was at the horizon, although there is no sign of it. It was funny one person stopped his car and asked, "what on earth was I painting?" He went on to say, "But you can't see anything!" Alas, how could I explain to this man that it was in the "unseeing" or the mystery of the scene that was so compelling. To each her/his own!

Tuesday, November 23, 2010

Deborah Paris Interview:part two

Autumn Twilight by Deborah Paris

A continuation of my interview with Deborah Paris. For part one click here.

Deborah- It's important to never reach your goal. Always be fascinated. When you choose to be an artist that choice has consequences, how you live your life...what you feel compelled to do. You must never reach the place you want to be.

L- Please talk a little bit about your metamorphosis as a painter.

Deborah- I started out as an alla prima painter painting in a high key fashion. Ned Jacob, my mentor, painted that way as well. I didn't have a reference for indirect painting in landscape. I didn't know a contemporary painter that painted that way.
I was a pastelist first. The way I was working was suited to pastel. I didn't worry about dry or not dry. I just picked it up and put it down. Ironically when working in pastel I never did an underpainting. I always worked directly. My move to oil and glazing was a technical transformation driven completely by aesthetics.
I had continued my art history studies and became reacquainted with the Hudson River School, Constable and Corot. I remember the big exhibit of Hudson River painter, Sanford Gifford (the same exhibition that was at the Met in 2004 and DC in 2005.) At that time I lived in New Mexico and the show was at the Amon Carter Museum in Fort Worth, Texas. I drove there twice, just to see it. It was an amazing show.
Through my studies and visits to museums I began to be drawn to the Tonalist way. I read information about technique, I wanted to understand it better. I started to realize the important part of the way the aesthetic could be made manifest.

L- What attracted you to Tonalism?

Deborah- The emotional component of the work made it so powerful. I always loved poetry and I felt a great kinship between poetry and painting. The Tonalist aesthetic had the same components as poetry- creating visual  and literary ideas. It was more compelling.

 L- What inspires you most?

Deborah- The landscape inspires me. Everything starts there. In the last 5 years I have understood it in a deeper way. I am more amazed and in awe of what I see. I have more time to look at it now. It's part of my job. The more I look, the more I feel connected to it. Before I traveled a lot. Now, for the past 3 years, I paint where I live, where I am intimately familiar with the landscape. When I moved here to east Texas it really reminded me of where I grew up in North Florida: big pines, water, marshes, big oaks. I felt instantly comfortable.
 In this time my focus has shifted toward a more intimate view of the landscape. Of course, that is part of the Tonalist aesthetic, but in my case, it is also because I've had a chance to become really intimately familiar with the area around where we live (very rural) and this has had a profound impact on my art.
Deborah painting


Next techniques and inspirations......
Meanwhile check Deborah's website and blog.

Monday, November 22, 2010

I yam what I yam

 6x9 pastel on somerset

Remember when Popeye said, " I yam what I yam?"

Well I yam a painter who loves to paint outside. No matter the weather... it makes me feel alive. In addition I love the mark I can make with pastels. It has an amazing connection to light -it can dance and bounce.
You probably wonder why I say all that. It's just that sometimes I need to clarify what makes ME tick and not get lost.
SO Hansel and Gretel come out of the woods.

PS Part 2 of the Deborah Paris interview!

Sunday, November 21, 2010

bouncing light at the river

 about 6x9 pastel on somerset
The light was once again bouncing everywhere. It seems to me that because the sun remains lower in the sky during November through January there are marvelous light conditions...... especially beside my beloved river. The concept of this painting was the bouncing light and its juxtaposition against the rich land mass. I limited my palette to about 6 sticks of pastel!!! I love plein air painting at this time of year!!!

Saturday, November 20, 2010

Richard McKinley's Pastel Pointers

Do you want to read the new "have to" book? It just hit the web and I received my copy on Wednesday (pre-ordered from Amazon.) Let me preface by saying, for 6 years now I have joined Richard for one of his yearly workshops. Usually I pilgrimage to Dakota Art in Washington State, although if that doesn't work in  my schedule I will go anywhere. I just love getting  a new dose of Richard medicine.
I read his Pastel Pointers blog weekly.  (Don't you?) So you would think I wouldn't want the book, right? He even said, "It's everything you have heard for years." But no, I LOVE the book. The book is aimed at pastel artists, yet it has great information for oil painters as well. Most of it is reminders of what I know...but who doesn't need reminders of what they know.... and forget to do?  A MUST read for a pastelist. Read his simple concrete explanation of simultaneous contrast, determining value and value benchmarks. Try the 6 exercises for discovering a series. ( I will.) But whatever you do...buy the book. Buy in from Dakota, North Light Shop or Amazon.

Friday, November 19, 2010

start with your concept/ diffused golden light

8x8 pastel on toned uart
November in the Mid-Atlantic is a beautiful time. Small touches of orange and gold, diffused light, subtle grays..ahhh! Diffused light makes the light and color bounce. It makes shadows soft and grays color filled.  Because light changes so quickly at the transitional times of day I had to simplify my scene- which was an old apple orchard. Choices.
Detail is never the artist's friend, instead essence is far more important. Since I always start with a concept I know what I am aiming for...what is the essence I want. Without that you just wander. I knew that I wanted a softness of light and an golden connection. The gold played itself out as pinks in shadow, as white gold in the sky and in oranger gold in the tree and warmed parts of the ground.

On a separate note...this morning I woke up at 5 so that I could paint the twilight. When I went to check on the kittens I noticed that Luchianna (Luchi) was making funny noises with her throat and pawing at her mouth. I could see anything inside, but knew something was wrong. She and I left for the all night emergency care and the vet took out a 3/4 inch piece of wicker in the top of her throat!
She wanted me to write about her adventure. She is feeling fine now.

Thursday, November 18, 2010

layer upon layer, finished- last moments of light

Finished version

Here is the comparison. As you can see I altered the shapes of the grasses and added glow to the part of the trees and water that would be enveloped by the last rays of sunlight.I must say I love the last days of working on a painting. In the beginning it is just all possibility. As time goes on it begins to show its own personality. Like children, all the work that you do on the front end hopefully pays off as it matures.
 
one month ago

Wednesday, November 17, 2010

Deborah Paris interview:part one

September Evening by Deborah Paris
Deborah's name is a household word by now. Her intimate landscapes amazingly show drama and peace at the same time. The deep luminosity she creates using veils of color make you want to linger forever in their world.
Enjoy our conversation:

L-Would you please speak as to your evolution as an artist?

Deborah- I started my life as an artist when I was a small child. I was always interested in drawing. In fact my first large scale work was on the walls of my brother's bedroom. Back then I was horse crazy and drew horses a lot. Later when I went to college I didn't think of studying anything else. Art was my thing. I did a double major in studio art and art history. One of my professors, a young woman, influenced me quite a bit when I was there. She was a Bernini scholar and at that point I studied the Baroque and the Renaissance.

L-Why that particular period?

Deborah- I was fascinated with the energy in the arts at that period of time. There was such a huge leap forward in naturalism and perspective. I was fascinated with the idea of patronage and the life of the artist. In particular  I was attracted to Caravaggio - his compelling, mysterious story. The story of his life had a romantic appeal. He used everyday people as his models. His use of chiaroscuro mirroring the mystery. The sacred and the profane. I remember when I traveled to the Fogg museum in Boston for research on my senior paper. I was amazed!
Well, after my undergraduate I had what I call a "psychotic break" and went to law school. You see when I finished school there really was no one out there painting like I did. It was mostly all abstract. In the 70s there was no encouragement to paint this way. I am still not sure why I made the choice to go to law school. At that time it was an unusual thing for a woman to do- a big move. I didn't paint for 10-12 years.
It didn't take too long to realize I had to paint. My mother was an artist and she always hoped I would get back to it. I was on my turn around.

L- Was there a turning point that you could remember?

Deborah- No, I think it just built up. I started to play around painting on weekends. My Mom and I were going to go to a workshop, we didn't go that year because of her health. The stirring was beginning. The following year we made it to that workshop.  I had just made partner in a big law firm, but I knew I needed to leave law behind. I made time and started working with Ned Jacob , in fact I studied with him for quite a while. He gave me a concentrated dose of encouragement and lots of excellent training. He was a high key painter and I was too at that point.  I had made my decision at that point so I just needed to make my way. For five years I woke up and began painting at 4:30 AM, finishing just in time to go to the office. I also painted on the weekend. I sought out drawing groups. In a short time I knew that landscape painting was my muse.
Drawing from life was good and I continued to work with Ned. One major gift he gave me was impressing upon me how important drawing is.
I must say it's the hardest thing I have ever done; much harder than being a lawyer or going to law school.

Part two...soon. In the meantime check out Deborah's website and blog...or sign up for one of her many excellent online courses.

Tuesday, November 16, 2010

process- for Moss

Recently Moss has written asking about my process. The first thing I will say is that my process is ALWAYS in flux. I am constantly learning and discovering what is the best way to create the image I feel and see in my head.

painting in progress-one layer of paint on top of tone and grisaille

removed grisaille
So, that said this is my process now.
1.Make a value painting in pastel on paper as a reference for the Painting. With that "removed grisaille" I have worked out all the major value decisions.
2. Tone the board (wood covered with gesso or canvas/linen) with a warm color.
3. Paint the 3 or so large masses with solid color- cool for shadow, warm for light
4.Apply a grisaille to the toned board
5. Paint in very thin layers (still using Liquin till my other substances arrive)Many of my paints are transparent paints, but not all. Read the labels of your paints and you will see their level of transparency. Gamblin is great for their informative labels. Check out the amazing Gamblin site, especially these two links: indirect painting and an explanation about why it works.
plein air reference painting
Mostly I use the "removed grisaille for reference. In addition I often have a plein air study and notes. Still I use no photos.

I hope that helps you Moss.

P.S. Part one of Deborah Paris's interview tomorrow!!!

Monday, November 15, 2010

kick-start your brain

4x6 pastel on somerset
I have learned that mornings when I immediately go outside and paint(even when the results are less than good) I am more energized and my "responding" brain gets kick-started. It makes for a more productive studio day. Try it sometime and let me know if it works for you.
                                          

Sunday, November 14, 2010

quandary- how to get all that color in value only

This is another "removed grisaille" that I did in preparation for a painting.
Yesterday, Paul and I took a walk on the fields in Manassas. It was late afternoon and by the time we were heading back and  the sun was setting. This time of year brings magic at sunset. The sun is at an angle that ignites certain portions of the landscape. My mouth dropped in awe when I saw this tree, in all its bronze splendor just glowing in the light. Not only the angle of light but the contrast between the bronze and blue behind the tree made it so extraordinary.  It reminded me of a George Inness painting. As a challenge I tried to capture it in value only. How does one get all that color in value?

Saturday, November 13, 2010

dominant color, temperature and pastel pencils?

6x9 pastel on somerset
This is another pastel that when it left the location was not working. Back in the studio with no interference from "the scene" it was easy to see its speckled nature. The first thing I did was unify it with the color of the light. Keeping in mind what would be cool and what would be warm I simply listened to the painting. Long ago someone gave me some pastel pencils, something I have never used. I took them out for this and found them to be helpful. I used them as I would a brush moving and joining colors.
Sorry, I forgot to take a photo of the pastel before I began work in the studio, but instead, here are the fluffernuttins.

Friday, November 12, 2010

another version of the slough and value

This is a much bigger version of the slough(18x18) which I have been working on for the past 6 months (granted 3 of which I just looked at it and grimaced.) After speaking with Deborah, on Wednesday, I have been thinking about value. Wondering about how my use of color and temperature that sometimes sacrifices value. So that is my next focus.

It's funny that what I know...I don't do. I realize that value directs the eye. Place the darkest dark and lightest light in the focal point. Have a dominant value.
Painting is continuous discovery and learning, so full of duh! moments.

Thursday, November 11, 2010

balance: meditative/patience


This painting must have at least 15 layers so far. It's only 8x10, but I have continued to glaze it for 2 months. I am finding that while the paintings are just OK, the experience, since I decided to just follow my intuition, is wonderful. While I continue to learn to "patience" the meditative experience that glazing is turning out to be is worth the wait.
Something to keep in mind- when glazing I am finding that defined edges come last and saved for the focal point. This painting is ready to get an edge or two.

On another very exciting note, yesterday I had the pleasure of interviewing  Deborah Paris.  I will post the interview as soon as I have the time to compile my notes (yes I should have a tape recorder) and  type it into blogger. 

PS Thank you everyone for all your comments. 
I realize it takes time to read a blog and write a comment,;so I just wanted to send a big hug and say thank you!!!!!

Wednesday, November 10, 2010

twilight, more new method explorations

about 8x9 pastel on somerset
After hearing Brian's comments from Monday I decided to try to incorporate more of the methods I use with the removed grisailles into my plein air. So here is a plein air done in my car as I sat by the side of the road (I guess that's en plein car). The sun was just a tiny bit below the horizon. Pencils, tissues and erasers helped make this effect.
Now for Jala- a request for more fluffernuttin photos:

Cute, eh? They are bigger already and it has only been 5 days!

Tuesday, November 9, 2010

similarities: Liquin and Diet Coke

8x10 oil on linen (unfinished)
Crazy, eh? Diet Coke and Liquin. Let me explain. I love Liquin: it's quick drying, beautiful surface can't be beat. I love Diet Coke: the taste is delicious and refreshing. The problem- neither one is good for me and I am trying hard to end  these two mini addictions. I am a daily user- a squirt of Liquin and only one Diet Coke.
As of yesterday I am trying replacements for Liquin.
Possibilities include Linseed oil with the absolute tiniest smiggen of cobalt drier. You have to be very careful because Cobalt Drier is powerful ...a drop too much  your surface will crack.   Liquin is an alkyd  and I have heard that another way to use an alkyd is in an alkyd white. That will speed your drying. I have also been told that M Graham makes a great painting medium it too is a rapid drying alkyd medium.
So folks, what's your experience? I am serious about replacing my favorite medium. I have headaches when I use it for more than two hours.  Help!

PS This is a painting on the easel....5 layers of glaze so far...more to go.
PPS. As long as we are at it, do you have a good replacement for Diet Coke?

Monday, November 8, 2010

another removed grisaille

So many excellent reasons for making a grisaille.
Let me name a few:
1.I use it to figure out the shapes.
2.Since color is not a pieces of the puzzle it's easier to change things .
3. If you can't make the mood in value, you  have no chance in color.

Reasons to "remove it."
Keeping allows the dark to have more color and is somewhat easier to keep transparent.
The value are noted for reference, yet you aren't completely wedded to them.

Sunday, November 7, 2010

back to back fluffernuttins

So they are finally here!We had to wait 2 weeks till they were old enough to come home. Our new kitties/family members are little rescues. Someone gave away their very pregnant cat (actually 8month old teenage mom-to-be) to an animal rescue. They didn't want her since they were moving! The foster care family headed by Melissa, a wonderful caring mom, and her young daughter Sydney, nurtured the cat family. Now they are all  getting homes. I am thrilled to have two tinies to join the other  three grown cats in our family- a 19 year old, an 8 and a 9 year old.

I need to have a little rant now. Here goes...........  When you take on the responsibility for a pet, please do not take it lightly. You take on that responsibility for the rest of their natural life....even if they are naughty. Yes, that means, even if the male sprays or the female forgets to use the box. And next, please spay or neuter your animals if you do not intend to care for all of its offspring. Think long and hard before choosing to be a caretaker of one of these beautiful creatures.

I learned a hard thing tonight. There are many states in the south that have animal rescues that only keep the animals for a day or so and if they don't get homes that's it, their lives are over. The organization we got these cuties from, Pet Connect, rescues these cats and dogs. There is a van pool each week that picks up these "doomed" pets and brings them north to the foster care homes. (Someone actually drives up and down the country delivering!) A very dedicated, giving group of people. Once all the kitties settle down and adjust we may consider to be a foster care home...we will see.

On another note, of course I am painting and I have many I could post, but I didn't want to dwarf the flufferrnuttins or my message. Thanks for listening. Adopt an animal..become a forever home.

So Jala, my friend, here they are!


Here's the link to Pet Connect Adoptions. You can adopt or make a donation.

Saturday, November 6, 2010

nothing is precious, if it isn't delicious


9x12 oil on linen panel

Yes, I will confess I am making plenty of "mistakes." As I have decided to only ask myself, what will happen if I add this? scrape this? lightly cover this? I am discovering. Here's the new note to myself. It hangs on my studio door and reminds me everyday.
Nothing is precious
because if it isn't delicious
why should it stay?
something better is on the way
Crazy, eh?
This amazement is why I paint.
I will put this one aside for now, that way I can evaluate it with clearer eyes later.

Friday, November 5, 2010

the difference an hour makes

6x9 pastel on somerset paper

This painting was created at an earlier time than Tuesday's. 4:30ish.The trees were bathed in half light and the foreground had some warmth with cool shadows. It was those moments before the foreground switches to cool as the sun goes below the trees and later the horizon. The sun was still high enough to make the distant hills cooler. Ah, the difference an hour makes!
I used the sky color as my unifier. The golden yellow is lightest in the sky and where it lights the distant land. The land is still the second lightest mass with gold (after the sky) because the sun is still high enough in the sky. The trees have a rich darker version of gold as they are vertical and thus darker. The darkest part is in the deep shadow of the pond's lip.
 When painting the landscape there is a basic order of value (normally):
1. sky is lightest
2. land reflects sky so it is slightly darker, but a light
3. verticals are darker still

Thursday, November 4, 2010

dominant color, temperature and value...what's yours?

6x7 pastel on somerset
When I took this one back from the field it didn't work at all. It was missing  dominant color.   The painting was also missing a dominant temperature, but it did have a dominant value.
The fact that the pastel was a total failure made it easier to attack ruthlessly. I changed the  temperature to be more cool than warm. Lime green, lemon yellow, light blue. It's glazed almost completely with a lemon green. I chose lemon green because I don't like that color. The challenge was- I had to make it work. Perverse, eh?  Of course a landscape is predominantly warm so I added punch of warm burnt sienna with an underbelly of violet. That is on the opposite side of the color wheel and an almost complement. I also without thinking about it chose the best landscape combination- a triad of secondaries- green, orange and violet.

Important ideas to remember:
A painting needs a  dominant : value, color and temperature. Take one of your failures and have a little fun.

Wednesday, November 3, 2010

dominant color and the feel of light

8x12 pastel on mystery paper (something from my drawer)

If you want to create an envelope of air, the touch of dusk's goodbye, you have to feel and not look. I am enjoying this new kind of paint with abandon that I am feeling. My only real rule is to have a dominant color.  I call it- the envelope. From that I dance my pastels in the same way I am dancing the brushes in oil.

Tuesday, November 2, 2010

twilight


5x9 pastel on somerset
When I took this painting from the field I knew it needed work. I posted it anyway. Now, after an hour in the studio, it is ready. The morning light is so much more evident after I glazed it allowing the more interesting grays of the morning twilight  draw the viewer in. You can view the version that I began with on October 28th's post.

Monday, November 1, 2010

the color of light

9x12 pastel on somerset
Early morning the pond was graced with a light created with a mix of lemon gold. Since the trees are all sporting their gold, bronze and cranberry leaves the light seemed warmed by their presence. Usually morning light seems so much cooler.
As I work to make my oils more similar in working method to my pastels I am also working in the reverse direction. That means this pastel was layered in the same way as my oils. Abstract bands of color (orange, pink and violet), followed by the skeleton colors (what is underneath) and topped by local color.
Here, I show you the pond. it's always amazing to me how little the photo shows the essence of the light.
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