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Wednesday, July 21, 2010

The first block-in

This is the first block-in Layer.   I don't want to loose the sun-lit effect that the underpainting helped to set up.  I need to go slow and think, and not loose site of the light I see in my mind's eye.  I want the distance hillside to appear hazy  with sunlight, like when you squint yours eyes and look toward the sun.   The edge of the cows hips should be hazy also, going into the sun, and that edge should be a " Lost" edge.   The calf in the background gives a dark shape in which to show off the cows white head, even tho the side of it is in shade.   Also, that calf is black---but I want some hints of other colors, like blue--purple--showing up   , in the correct value.   The foreground and field  are the flat planes of the painting, and are being hit by sun, so should be light in value.   Foregrounds are hard,  grasses should be acknowledged   - - - - but how much?
So, I will stop here for the day, and think carefully about color.   It will be hot in my OLD  garage studio working space,  I can only use it early in the day or in the evenings.  As I get up early, evenings are hard  . . . .  I am tired by then!!!   Oh well.   It will actually go fast.
Working on this surface so far is fun.  I don't want to comelelty cover my underpainting- - - this is some of what I am trying to learn!    I have been reading a book by Caroline Jasper, who studied with Henery Henche, who studied with Hawthorne.  So interesting!!!!  All of us should give this a careful read,  And push the way we think.
Also, the little gallery reception was fun. Lots of travlers going thru, and gave me a chance to meet other artists.  Very nice work is being shown, and mine will be there until July 31.   Then its home again, with me trying to LEARN  MORE!


  1. Sounds like you are planning this out carefully. I know what you mean about not wanting to cover up the watercolor underpainting! I struggle with the same thing - how much? How little? Richard McKinley's workshop will include this technique. In August I will start practising on white wallis so I am more comfortable with his technique before I take a class from him!

  2. Good idea, CArolyn, but you can underpaint on Uart---or Wallis belgim mist, both which are colored. I also have underpainted on Canson, a paper I have a lot of respect for its so versital!! I gouche paint on it, and w/c!! White Wallis is a great paper, too. I mount it on foamcor and take it plein-air, also do this with the others. Its fun to experiment!