Studio construction is still going on but now I'm able to use my new painting area in between. When contractor Greg needs to work, my easel and palette are on casters for easy removal. I was able to complete one painting.
#818 London HOP 40x44 oil on linen (framed)
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#818 London - HOP 40x44 oil on linen (5-30-13)
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Training not going so well - my paper keeps moving around
MY ONE PAINTING
My outline established on a 40x44 linen canvas
Normally I could stop at the skyline, but I wanted an absolutely seamless transition to my waterline so I continued on.
Looks like I might have a possible sculler shape on the left joining my river fleet.
When I do these larger atmospheric landscapes I don't always have a real reference except a desaturated photo of my setting, and have to pull from previous experiences as in this case.....many times en plein air.
I originally noticed this little reflection effect while painting en plein air in 2009 and since use it often.
On that particular day I did (2) 15-minute 8x10s #131 & #132. There is a bridge over the James all but hidden by the treeline. I could see a truck crossing, reflecting a vivid sun off the roof tops...matching the suns colouring. A simple brush mark said it all and my little paintings were done.
The river is clearly visible in the 1st one but not so much in the 2nd because the sun is quickly moving to the right as the composition shifts.
MY ONE PAINTING
My reference is a photo from Hungerford bridge
Normally I could stop at the skyline, but I wanted an absolutely seamless transition to my waterline so I continued on.
The building line is well established - my sun is still open to possibilities. However, it's merging light on to my surface is firmly in place and won't change. I also blocked in my river fleet anchoring my upper composition. In this painting I will maintain my water reflections.
Detail of an interesting vermillion reflection
Looks like I might have a possible sculler shape on the left joining my river fleet.
When I do these larger atmospheric landscapes I don't always have a real reference except a desaturated photo of my setting, and have to pull from previous experiences as in this case.....many times en plein air.
I originally noticed this little reflection effect while painting en plein air in 2009 and since use it often.
On that particular day I did (2) 15-minute 8x10s #131 & #132. There is a bridge over the James all but hidden by the treeline. I could see a truck crossing, reflecting a vivid sun off the roof tops...matching the suns colouring. A simple brush mark said it all and my little paintings were done.
The river is clearly visible in the 1st one but not so much in the 2nd because the sun is quickly moving to the right as the composition shifts.
#131 Libby Terrace sunset 8x10 en plein air - pale buttery yellow stage
#132 Libby Terrace Sunset 8x10 En plein air - vermillion stage
Detail
FRAME TEST
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Detail
SOME STUDIO PROGRESS SHOTS
The floor pocket slot will be 30" deep and 120" wide - looks like I'll get some sun too.
Vermillion sun reflection not changed from 1st session and looks like the sculler was joined by another under the bridge
SOME STUDIO PROGRESS SHOTS
Later.......
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