Value always does the work

The master Jean-Francois Millet wrote in a letter, "If a sketch seen in the dim half light at the end of the day has the requisite balance- ponderation- it is a picture: if not, no clever arrangement of color, no skill in drawing our elaborate finish, can ever make our a picture."
That said- as one surfs the slippery tide of color vibration one can easily get lost. My solution is to also spent time making large value pastels. It's one of those catch 22s. The abstract of the painting is always the mos important..if that doesn't work it will never work. We want to be free to answer to the painting rather than impose the "scene." Therefore I make these and then put them aside.

designing space and concept

7x7 pastel on paper

The idea of adding an animal to the landscape changes the whole design. The human eye will always gravitate to a figure or animal. I think it will continue to challenge me throughout the painting.
As I continue to read about George Inness's ideas I am especially intrigued by his theory of the division of space and placement of figures.  Inness broke the rules and made his own. After 1878 he regularly raised the horizon line and divided the pictorial space in half- half sky, half land. I tried that division here. It's a challenge. I altered the format to a square and decided to hide the sun inside the trees (left.)
The feeling in this study is very different. It's much more intimate, less space. I added two deer instead of one. I was aiming for the idea of living in harmony.

painting with intent, knowing your tools

7x14 pastel on thick somerset

Since painting at the easel is a challenge right now I have been enjoying value studies. In the past, I have been guilty of relying on color to create a painting.  Gradually I am changing that habit.

In this painting I want the idea of solitude, yet the challenge of adding an animal, something I rarely do.  Suggestive is the quality I desire, rather than a tabloid "tell all." After deciding those two things the next question was, "which is the best format to reach my goal?" In my sketchbook, I reduced the landscape to basic shapes, like a notan, but a little different. I like to use pastel for this, with pencil I get caught up in those details that just don't matter. After 8 tries I decided on the 1 to 2 exaggerated horizontal.

Having a concept is very important. Realizing and using all the tools you have to make that concept work is the way to make your art more intentional.

I think I will go play with the other possibilities now.