Work In Progress: Withlacoochee Flight, Update 12

Work In Progress: Withlacoochee Flight Update 12

            The water is now pretty much complete. I continued to add layer upon layer to the roughed in reflection pattern in the lower right. Doing so intensified the colors. For the most part I kept the margins of the light and dark colors quite sharp. Within the lighter color patterns I did mix some colors, chromium green opaque (FC) and chartreuse (P), to mimic the gradations in value seen in the tree foliage.

            The water near the shoreline takes its blue color from the sky overhead because the surface seems to be disturbed by wind. The blue color was achieved by combining sky blue (FC), cloud blue (P) and a bit of cobalt blue (FC). Further to the right, beyond the wing of the egret, where there is an area of dark shadow close to the water’s edge, I added indigo blue (P) and chrome oxide green (FC) to the mix.

            The blue sky reflections in the middle were further strengthened with sky blue.

            I’ll be tackling the strip of grasses across the midground next.

Work In Progress: Withlacoochee Flight, Update 10

Work In Progress: Withlacoochee Flight Update 10

            I know said I was going to work the grasses after doing the palm tree reflections but I couldn’t resist continuing the reflections across the painting. Once I completed the reflections below the palms I wanted to see how the rest of the water would be integrated in. So, although I added an undercoat of chartreuse (P) to the grasses stretching across, I decided to continue work on the reflections.

            The palms were taken from another reference photo, one that did not have any water, so the reflections had to be completely fabricated. I basically produced a mirror image – of sorts – roughly, only roughly. The water is moving, so there are lots of small waves. The wind is also creating some ripples here and there. The waves would break up the images considerably. Part of the wave would be reflecting the trees and part the sky, depending on the angle of the wave. I referred to the reflections on the right side as a guide to what the reflections under the palms might look like. Only the reflections of the trunks would bear a near resemblance to the real trees because they were light colored against a dark background.

            When I finished the reflections under the palms they appeared a little too detailed, especially judging from reflections on the right side. So, I went back over it and scratched out more breaks in the images and further broke up the reflections until I felt they looked better. As can be seen from the photos, the reflections were just roughly sketched in at first to get the shapes and colors in, then I went back in to further refine them.

            After completing the palm reflections I worked toward the right. Here, I had photos to follow. However, I decided that I didn’t need to copy the reflections exactly as they appeared in the photo. I merely had to study the wave and reflection patterns and then paint my own in. I copied some of the main wave and reflection patterns shown in the photos and then added more to maintain the same feel. Once again, I roughed in the wave and reflection patterns lightly. Now I’m starting back over, adding heavier layers, intensifying the colors and refining the shapes.

            The colored pencils used to do the reflections were the same ones that were used to do the trees and sky.

            After the reflections are completed, I’ll start work on the grasses.

           

Still trying to solve the problem of uploading pics. Until then, check my website for photos. Thanks

Work In Progress: Withlacoochee Flight, Update 9

Work In Progress: Withlacoochee Flight Update 9

            After getting all the palm trees in I thought next of doing the grasses that stretch across the scene, but I was anxious to put some water in, especially in the lower left. The palm trees were taken from another photo, pasted in, and weren’t on the bank of a river or lake, so there were no reflections. I had to create them. All I did there was to very roughly mirror the trees above, taking into account moving water. I estimated how much the reflections needed to be broken up by the reflections on the right side of the original photo. I also used other photos of similar reflections as reference. The reflections were very generally indicated to get the shapes and size, then detail was gradually worked in.

            The colors used were the very same ones used to do the trees and sky. For the tree trunks: ginger root (P), 50% French grey (P), and a bit of dark sepia (FC); for the foliage: chrome oxide green (FC), chromium green opaque (FC), chartreuse, limepeel (P); for the grasses: charteuse (P), limepeel (P), raw umber (FC), burnt umber (FC); and for the sky reflections: cloud blue (P) and sky blue (FC).

            Since the water is not still there was no need to match the reflections to the trees exactly, just give the illusion of being the same. I did try to match up the tree trunks a little more accurately because they stood out against the dark background behind them. The foliage masses of the trees were just roughed in. I made sure of breaking up the tree trunks because the wind was creating small waves that alternately reflected the tree trunks and background. Near the bottom, where the tops of the trees ended, the sky started to be reflected by the water surface but, because of the rising and falling water surface, the reflection of trees and sky were mixed. The science behind reflections is interesting and might be a good subject for a future post. There is a lot of information out there and it’s important for the artist to have an understanding of it to portray it with some accuracy – especially in this case, where there is no photo to copy and it has to be made up.

            This area is nearly complete. I’ll work my way across to get the rest of the reflections of the palm trees in, then go back to the line of grasses. I may work alternately on the grass and the water reflections below. The birds will come last.

Sorry, still can't get photos on this site. Check my google site or my website for photos.

Work In Progress: Withlacoochee Flight, Update 8

This has been a tough month for my wife and I. Our cocker spaniel, Peaches, a beloved and dear companion for 15 years has been struggling with terminal kidney failure, and despite all the intervention, is succumbing to its ravages. My heart isn’t in it to type a discussion of the past week’s artwork. She's been there, at the foot of my drawing table, through so many paintings. She'll be missed. So, for now, go to my website for the updated photos. Thanks.

Work In Progress: Withlacoochee Flight, Update 7

Work In Progress: Withlacoochee Flight Update 7

I’ve completed the smaller foliage masses catching sunlight within the larger mass on the right side. To add more definition and make them appear more real, I further defined the edges by working dark color along mostly the top edges where the sun strikes them the hardest. Here, I worked in naples yellow (FC) here and there as the brightest spots among broader chartreuse (P) areas. The more shadowed lower areas contained more chrome oxide green (FC) and even a bit of Tuscan red (P) in the deepest shadows. There was very little attempt at uniform blending because the splotchy, irregular juxtaposing of tiny lights and darks gave a more realistic feel for leaves. By adding multiple layers and pressing hard with the pencils, color intensity and density was maximized and very little of the white paper showed through. I was also careful to use crisp, sharp strokes to define the edges of the Spanish moss hanging from the tree limbs. Gentle curves to the moss gives the feeling of breezes acting on them. The moss still has to be finished up by adding some color and shading, but I’ll add that at a later time.

            My attention now is on the palms at the left side of the painting. The first task at hand was to lay in basic colors, lights and darks, shadows, and get a feel for the grouping of trees. Using multiple photos of palms as reference, I blocked in the palm fronds, both living and dead. Here, I added a few more colors as I felt they were needed. For the green, living fronds I used limepeel (P), chartreuse (P), chrome oxide green (FC) and a bit of chromium green opaque (FC). I used the chrome oxide green quite a bit to draw in the darker, shadowed areas. Doing so, defined the lighter areas. In the darkest areas I added burnt umber (FC) and dark sepia (FC). The dead fronds do add some interest to the foliage mass and I consider them important in portraying realism and providing contrast to the greens of living fronds. Here I used ginger root (P), raw umber (FC), burnt umber (FC) and some dark sepia (FC), as well as cream (FC).

            In adding in the palm trees, all I’m interested in at this stage is to rough them in, get the lights and darks in and get a feel for the structure. I try always to work from lesser detail to greater detail – block in structures and then refine them. This way I get a feel for the overall form and how the parts fit together to produce that form.

            From here, I will start working toward greater and greater detail and color intensity and density.

Still trying to work out the photo transfer problem, so go to my website for the photos. Thanks.

Work In Progress: Withlacoochee Flight, Update 6

Work In Progress: Withlacoochee Flight Update 6

            This past week has been very busy and I’ve not gotten as much done on this painting as I would have liked. I’m teaching some colored pencil classes and that has taken up much time. Also, my constant companion, Peaches, our wonderful Cocker Spaniel, is nearly 15 years old now and requiring more of our time. We’ve shared many adventures, many trips to the mountains, and hiked many trails together. She’s gone just about everywhere we have. Since my retirement we’ve spent just about all our waking hours together. My wife and I are devoting more time to her now, for her appetite is diminishing and we’re exploring all kinds of food options to coax her into eating more.

            On to the painting.

So, at this point I’ve nearly finished the tree mass on the right side – all except for the details on the foliage that’s catching sunlight. After roughing in the light and dark areas I began layering in the dark shadows. To do this I alternated chrome oxide green (FC) and tuscan red (P). To keep the area from being solid black I made irregular patches of Tuscan red. These areas, when combined with chrome oxide green formed the deepest shadows. Areas without the last layer of tuscan red were not quite as dark and suggested foliage in shade but not deep shade. This adds a bit of three dimensionality to the structure and keeps it from appearing flat. Here and there I added a bit of chartreuse (P).

            Next I’ll finish up the foliage masses that are catching sunlight. After that, I think I’ll start work on the palms on the left side.

I'm still having problems getting photos to post here. So, please check my website for the discussion and photos. Thanks.

Work In Progress: Withlacoochee Flight, Update 5

Work In Progress: Withlacoochee Flight Update 5 This past week I worked on the large mass of tree on the right side. I wanted to get them in because I was getting too fixated on the distant trees and wasn’t sure if more detail was necessary. Composition principles told me those distant trees should be ambiguous and indistinct but, without anything else on the paper, they took center stage. I had to remember they would be backdrop to more important and closer objects. So, I left them with suggestive detail and decided to work on objects closer up. I knew that once closer and more important objects were rendered, the distant trees would recede from importance – and that seemed to happen as I put in more and more of the closer and larger mass of trees on the right. Even at this point, having put in about half of the trees, attention is drawn away from the distant trees and they become more of a backdrop. The first step to painting in that large grouping of trees was to very roughly, and very lightly, block in the important light and dark masses within the larger mass of trees. I used the color sketch as a basis. The darker areas were roughly filled in with chrome oxide green (FC). Once the darker value areas were mapped out I colored in the lighter masses with chartreuse. Next, I started working small sections, slowly refining the shapes of each by adding more and more detail, filling in more color, strengthening the values. To make the darkest shadows I mixed tuscan red (P) and chrome oxide green (FC). For the lighter values I added chromium green opaque (FC) and naples yellow (FC) to the chartreuse. I’ll continue in this manner, working from rough to detailed, completing sections at a time, until the entire mass of trees on the right is finished. I'm having difficulty uploading pictures, so go to my website to view the photos for Update 5.