- The sketch- After taping off a sheet of 12 x 18 Aches Cold Press paper, I use my nice mechanical pencil to lay out the basic sketch. No too much detail. This helps me conserve my whites.
2. Working very quickly a lay down wash using Cobalt, Permanent Alizarin Crimson and Ultramarine Blue. I work wet on wet and on an angled board at this stage. I use large brushes. My favorites are my Pointed Squirrel Mops my Rekab.gl
3. I'm using a really simple palette. Burnt Sienna, Alizarin Crimson, Cobalt, Ult. Blue, Yellow Ochre and a touch of Payne's Grey. That's it. It gives the painting unity.
I'm an "all over" painter. I don't work left to right or top to bottom. I go where my intuition takes me.
I'm also and impatient painter! I put in my lightest glazes and then like to hit it with some really dark darks pretty quickly.
My basic technique is to wet the area I am working on first with clean water and then I lightly mix my colors on the palette. Then I drop color into the wet area and let them mix on the paper. The dry edges act as a brake and prevents the color from bleeding out. I, also move the board around letting the water run, which allows the pigment to mingle until I get the effect I'm after.
4. Adding some more darks and detail. As you start to add the darks you see the light and form just start to appear.
5. Continuing to build up layers and working quickly. The tree branch is a mix of Burnt Sienna and Payne's Grey with some dry bruising for texture.
12 x 18
I'm quite pleased with this one. It's not tight, it's not perfect but it captures the feeling that I was trying to convey.
If you's like this one to hang on your wall.. click here!
I've gone ahead and entered it in the Bold Brush Art Competition.
Click on over and give it and Like!
Taking Flight- Bold Brush Entry
Thanks so much!