Less interesting without the lean-on?


Previous post skewed in Photoshop

I stepped back from the last post curious that I hadn’t notice just HOW MUCH the whole thing  was leaning. So I’ve “corrected” it. Don’t believe anyone who can use Photoshop! In answer to Erin’s Q. about how the painting developed, it was exactly as follows:

  1. Lightly touched in the composition with pencil – just a few marks
  2. Wet the paper all over with the water bottle spray
  3. Whilst that was beginning to soak in, mixed up a mid grey.
  4. Stroked the grey over the skyand down the paper
  5. Strengthened the grey and “dropped” that into the lower sky
  6. Mixed up a green and stroked that across the lower part – everything still wet
  7. Did the same with a muddier, darker green for the bulk of the trees – paper beginning to dry now
  8. Added a lot of Paynes Grey and a bit of yellow  for the dark trees, but everything still damp
  9. Darker green strokes to the foreground while still damp
  10. Now a few details with the small brush – didn’t have a rigger so the flicked in branches (with the rooks nests) are not very fine – into almost dry paper.
  11. A few random figures touched in with dark paint against lighter areas where dry enough.

And that was it – 15  minutes at the most – I was parked on a double yellow line. When I got home I touched in some gouache bright colour on some of the figures. Usually I erase the pencil but not needed here.

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~ by noelgarner on March 5, 2010.

3 Responses to “Less interesting without the lean-on?”

  1. Like the “low-down” on getting the painting from start to finish; quite interesting and instructive. You make it sound so easy! In 15 minutes too….. now that is amazing! Perhaps you can do some speed tests and see what record time you can get your paintings down to?! I like the contrasts between the leaning and non-leaning image. It certainly does make such a difference to the whole “feel” of the picture. Amazing how such subtle, small things do make such changes. I guess I feel the leaning version has more of a dynamic, “alive” feeling.

  2. Thank you for sharing your process. It was very generous and helpful.

  3. You’re welcome Linda. I like your stuff too. Wet into wet is a great way of painting quickly, if you view the wetness of the paper as an asset rather than a nuisance. If you look at Rowland Hilder’s style you can see he must have waited for each wash to fully dry before applying the next. Cotman was the same of course.

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