These things are never finished. One always thinks that a few more touches here and there are necessary but this one, for me, is feeling very close to finished.
I am working on another scene from my August Road Trip along California’s coast highway, route 1. There are so many images worth noting along that stretch of highway, that it would take years to even collect them in my sketch book. After looking at it for weeks I finally understood the term “Golden California.” There is not only gold in those hills but purples, blues, reds, violets, and about any other color your eye can conjure up. If the color can be seen it is there. My 2423 “Barn on Cal Rte 1” is coming along, with a long way to go. I take digital (bless the digital camera) photos to record progress and allow critique and markup with ideas and corrections which are then sometimes incorporated into the painting. The following photos show the progress over the past few days. ——-
Usually, when I get close to completing a painting, I find it necessary to take it off my easel and hang it on the wall somewhere and just let it “rest.” By resting, I mean that I stop working on it and start a new piece. This keeps the painting in my field of vision which can trigger various thoughts and ideas, sometimes subconsciously, about what, if anything, might be necessary to finish it.
This is the case with Last Light. It is close to completion, yet there seems to be something needed. I don’t know what but over the next week or so as I work on other things I may see (or feel) what that something is. If not, then it’s done! Here’s what it looks like at the end of today’s session:
I started Last Light today. This is one of the pieces from my 2012 Road Trip. I spent a number of hours at Olmsted Point watching the sunset on Tioga Pass. I made a number of sketches and took a lot of photos to bring back to the studio for reference. The following three images show my progress today.
Shapes and underpainting
First color values
Second color layer
Each color layer refines both the values and the shapes. The apparent waves in the sky are an image aberation and do not appear in the painting.
The sunlit faces are underpainted with a light blue and then brought up in value with a mixture of white, a touch of Cad Orange, and a trace of Ultramarine Blue. The shadows are a mixture of White, Purple, Ultramarine Blue, Cad Orange, and Napthol Red. The shadows are made to glow from reflected light by adding touches of the sunlit face color.
For those of you who would like to see my work up close and personal, a number of my paintings will be on display during November at the Freeland Library.
I wish to thank the SnoIsle Library system for giving me this opportunity. I sincerely believe the public library system to be one of the cornerstones of our country and urge all of you to support your local libraries.
Be sure to stop by.