Day 10 – the final day of the #tendaychallenge, exploring my theme Colour in landscape.
And now with four Ridgeway paintings complete, it is time to paint the iconic Wittenham Clumps that I see every day when I stand at the top of the hill leaving our village.
Many artists have been here before me, particularly Paul Nash; but nevertheless it is my view from my village and I just have to honour that view, now that I am finding a way of painting the landscape in colour. Photos are not enough to engage emotionally with a view; I need to have seen it; planned how to arrange it; breathed the air; felt it’s sunshine or warmth or chill or wetness. Photos are good for reminders of how to add non-detail or interest or nuance.
To really engage I need to draw it and define the light areas and the dark areas. I can do this from the photo as soon as possible after being there, or in situ – en-plain air.
Planning: I like a composition where at least half is a quiet area. It can be any sort of division – diagonal horizontal vertical. The quiet half needs to have ‘close surface interest’ which means that while it is understated from far, it is interesting and just gorgeous (textured or patterned) when you get close. The quiet half should balance the ‘busy half’ like a quiet neutral, a misty area, a secretive dark area a different tone or colour.
And then I will work out my palette depending on whether it is mysterious or summery or moody. I want some warmth regardless of the mood. I’ll usually use the blue / green /blue violet spectrum for the dark values, with white added for coolness.
And then I will work out my palette depending on whether it is mysterious or summery or moody. I want some warmth regardless of the mood. I’ll usually use the blue / green /blue violet spectrum for the dark values, with white added for coolness.
And then there is nothing else to do, but to go ahead and paint.
And resolve problems as they arise.
And let the painting tell me how it should look.
And then look again, think, wait, drink cups of coffee in front of it, and sign it with a #000 Sable paintbrush.
Voila!
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