Work in Progress:
Pelicans, Update 2
I’ve decided to do an underpainting
once again and I’ll be doing it with watercolor, so that’s why I chose an
appropriate paper such as Arches watercolor paper. I also wanted to see how
well the pastel takes to the paper – details, number of layers, etc. I was
concerned about leaving the sky reflections light to white in color and still
be able to be loose with the watercolors, so I decided to paint out the sky
reflections with masking fluid first. Then, I could put in the underpainting
without having to paint around the sky reflections.
My first
concern for the underpainting was to choose colors and an intensity that would
agree with the value and color sketches I had prepared. I chose winsor Newton
cobalt blue and terra verte for the underpainting colors. The picture area was
wet down first and then the colors applied. I did a graded wash, keeping the
top dark and grading to a lighter value toward the bottom. Because the
underpainting would eventually be covered with pastel, I didn’t have to be
particularly careful about the evenness of the graded wash, just that the
values were close to what I decided in the preliminary stages. They would be
eventually covered up to a great extent and any unevenness wouldn’t be evident.
After the
watercolor was dry and I had removed the masking material from the painting, I
started back over the water with pastels. Again, I tried to stick with values
that corresponded with those I set out in the value sketches and the watercolor
underpainting. The upper part (further in the distance) was to remain the
darkest and the values would become lighter toward the bottom (or the
foreground). Keeping to a more neutral, or more reserved color palette for the
water, I used olive greens and blues. The colors used were Sennellier 291, 213,
214, 395, 210, 216, 110, 525, 346, 503 and 466. Also Pitt Pastel colors 101,
168, 151, 174 and Carb Othello 440 and 435. Some in this palette were lighter
colors but all were used in a manner that left the overall feeling subdued.
After
working my way down to the birds, I stepped back to assess the painting so far.
The light sky reflections were too light, too bright. They were too distracting
and I felt they would compete with the birds. So, I knocked them down a bit with
blue. I also felt there were too many sky reflections, so I eliminated many of
them and softened some edges. I also did some more blending, especially further
away from the birds. I think that helped. Still, I wasn’t sure about some of the darker
reflections in the painting but I decided to wait until I had some of the birds
recorded before I made more changes to the water.
Now it was
time, I felt, to work on the birds for a while, to integrate them into the
surrounding water. I’ll discuss that during the next session.