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Message
Posted
I’m having to slow down my painting sessions because of a hand problem, working in ten minutes sessions then resting my fingers .
What I have noticed is that my work is changing due do how I’m having to hold the brush and of course more time to think about what in doing, not necessarily a good think with someone who fiddles about with paintings .
I’m one of those people who having to much time cause a problem, I become bored very quickly and normally have a few paintings on the go so I can switch between them.
However having to work in short time spans is proving beneficial, odd how one problem solves another, or it seems .
I start of in the same old way basic sketch with the main details sketch in, I’ve then use a putty rubber rolled over the sketch to make it faint, I’ve left it as normal for the photo .
Next stage is to put some base colours in , these two session have taken thirty minutes as I have jump a ahead and forget to take the second session photo , this is stage three .
Black and white photo to check tone etc plus a distance shot to get the general impression of how it coming together.
Next stage is to put some base colours in , these two session have taken thirty minutes as I have jump a ahead and forget to take the second session photo , this is stage three .
Black and white photo to check tone etc plus a distance shot to get the general impression of how it coming together.
Close up view .
And the distance one .
That’s it for today , so far worked on it over the last two days .
Posted
Coo! Coming along nicely.
Just in passing - I see your palette (observant like that....) and wonder how you get enough paint for those big fat washes which so many of us seek... I'm not a watercolourist primarily, as I'm saying for the thousandth time (it makes it easier to defend myself), but I'd need a much bigger palette than that to get anywhere. I have the Michael Wilcox School of Colour palette for any painting larger that 5" by 7"; I do use the little Winsor and Newton and Daler-Rowney travel palettes, which somehow or other I won from POL, for the small pieces I've been doing this year so far, but for a painting of this size I just couldn't manage with yours; is there a bigger one in hiding? Or maybe you don't principally work wet-in-wet?
I imagine your hand problems dictate the way you have to work - finishing one part then moving on to the next; and we all do that to some extent, given you end up with a slushy mess if the painting is all wet-in-wet (some manage that: I can't); anyway - it's just a detail: full of admiration for your adapting your technique to the limitations physical pain imposes. I can quite see why you need to work in bite-sized chunks, and - it works well for you, this is looking good.
Posted
Thank you Robert and Sandra I appreciate you comments. No Robert it’s the pallet that I always use, I have three or four of them they are made from a very light alloy easy to clean and not heavy ,but very robust.
I’ve always used a similar size pallet and never needed any bigger, I just wast more paint than I do already if it was much bigger.
I was awake in the night so did a bit more on the two largest trees , painted the nearest one a mid brown the put the ivy effect on using the tip and side of a brush , think it’s worked out well.
I then decided to put ivy on the large tree in the distant left bit balance the scene a bit more .
Posted
I’m A few more sessions and it’s really taking shape , I’m actually enjoying working in small chunks thought it again my nature . I think it’s the challenge in enjoying and having to step back from it more let’s me see what’s needing attention without reacting to it suddenly. The odd looking wet spot on the left is due to removing a tree stump as it looked wrong with thick Ivy growth on top of it. Will change that as I go along .
Edited
by Paul (Dixie) Dean
Posted
Thank you Alan , Denise, Sandra and Linda for your encouraging comments. Sadly Linda a bridge won’t do the job as it’s the fingers locked into my palm so as I can’t hold the brush properly, they occasionally spring open suddenly and the brush goes flying. I managed to get it down to a fine art by holding the brush between my index and middle fingers looks very odd and a bit wobbly but it works for short periods. The knack is to get as much done as possible and avoid straight lines, trees are very accommodating as they are never straight. I’ve just messed up the left side foreground by adding a retaining wall, not a very good idea as it looks to heavy for the scene .
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