Once again I experimented with differences in texture: reflections in water and air in skies. But the main thought on my mind was threading. What do I mean by threading, you say? Well, since I decided that the light fog/low lying clouds made a violet light I knew that violet was the color that needed to thread through the entire piece to harmonize. The places where the light came through were golden. Important pieces of information to keep in my mind each time I would chose a color.
Speaking about the color of light...I have been playing the "light game" where ever I go and you can play it too.... even when you aren't painting. Observe the light. Then close your eyes and describe it in full. What is the color of the air? What color threads through the entire landscape? What are your lights doing? What color would you describe the sky and its light? Be specific. Tonight when I was hiking in the dim light, it seemed as if the sky was a white gold glow. Naming that I tried to choose (in my mind) which stick of pastel I would use and what would be the underpainting. All this and I didn't even have my paint stuff with me.
Whistler used to challenge himself. He would absorb a scene, its every color. Then he would turn his back and describe it in full. His friends were free to correct him. I doubt that he was wrong.
On another note, during my workshop study time with Richard I was slowly, question by question, completing an interview with him. We never did finish all of my questions. I will save them for another time, but we did cover many questions. So, hold on to your seats, another treat is in order for you.... a special interview with the pastel god himself, Richard McKinley. Since I am still traveling you must be patient. ;-)
