Color Study for "Confluence"

about 5x7 pastel and oil on marble dust board
I tried hard to stick to my analogous color theme and to vary my color within a value. Unfortunately my photo does not show that well...sorry.
Today's questions and challenges:
1.What is the lightest light? That will help determine many other marks in the painting .
2.The sky sets the tone, but how does it tie in with the landscape?
3.Where are the highest contrasts? Sharpest edges? It should be the focal point.

When stuck I do another black and white sketch, this time it is of the painting....Are my values working? What do I need to accent? Bring back?
That is when I lightened the value on the mass (on the left) and made it more blue.

I think it's now time to go to this composition on a bigger scale. Everything is easier small. One tiny mark says a lot. Bigger is a whole new thing! More later.

Golden Rule: Suggest rather than command.

Studies for Confluence

pastel and watercolor on marble dust board and pencil sketch
When out in the field, whether plein air painting or walking with a camera, the main goal is to get ideas and experience. Later when removed from the source, one takes time to dwell upon the experience. Neither the painting nor photo is the key, the experience is.
When back in the studio, think...how can I create a bold design that stands out at a distance? What is my concept? With this in your mind proceed to your sketches and block out the masses. Remember the sky sets the tone and you need an anchor in the foreground.
This is my plein air painting. I have decided to work in a slightly different direction using analogous colors. Blue green, blue and blue purple will be complemented by the orange sky. The dominant hue will be the blue haze. The sketch has two shapes, unequal in proportion. Studio paintings involve more planning and choices.
We as artists are the creator of mystery...use your power.

Bridges at Harpers Ferry

12.5 x 16 pastel and watercolor on Uart paper


12.5 x 16 watercolor underpainting
I remember long ago when I loved doing color monoprints I used to move the oil paint around the plate with my fingers and a cloth. I am starting to do the same with my watercolors and oil paints, even without the slippery plate.
I am still working out the big painting. This one is closer to my idea, although it still leaves a lot to be desired. The photograph is poor as well, the color is more vibrant.

Preparatory Work/The River

watercolor on moleskin paper
These three small works are from my moleskin sketchbook. I have been trying to decide exactly how the composition and light will be for this large painting. It's always best for me to fiddle a lot like this before moving big. Due to Brian's influence I have been turned on to this new (to me) surface. It can take a lot of abuse.
I want to thank Katherine for noticing my blog and mentioning it on her site.
Back to work!

August 8, 2008 Confluence of Two Rivers

11x14 pastel on board
Ever since I saw this view on Monday I have been thinking about it. My niece, Agne, and I went tubing on the Potomac and floated right by Harper's Ferry. I was intrigued by what looked like a good view high up the hill. After getting out of the river, we drove to Harper's Ferry and found the place. It didn't disappoint me. I can easily see this one growing into a big studio painting.

July 4, 2008 Oh Shenandoah

8x10, pastel and watercolor on marble dust board
New river! Today we visited Harper's Ferry and on the trip home I saw this view on a bridge over the Shenandoah River. Quick, stop the car and run out and grab a photo! Unfortunately it really wasn't a safe location from which to paint as the cars whizzing by really fast. I love the view from bridges.
Thanks and happy 4th of July to all my subscribers and viewers!