Friday, March 14, 2014

Cobble Hill Road warm despite itself.

36  F  sunny!
It was very overcast most of the day, but around 4:00 it started to clear.

The scene at the start, still a bit hazy, again I'm facing the sunset, I just can't shake certain things, as much as I think maybe I will.



By now I have the basics and the fine tuning can start. I'm trying to put color in I swear, but there it is (or isn't) but it is.

This is what I'm talk'n about, it's impossible to see!

As the sun went down the light off the snow made the contrasts stronger and more dramatic, I liked that, there is no chasing it just increases the same patterns of light and dark.

by now the light was illuminating the far hills like a stage set, it's never like that! I had some trouble with the farmstead, lots of information, I only needed a little.

A side by side shot, this is what I look at, always comparing the scene to the panel, I'm squinting anyway, but with the sun....

The view to the north....

The view to the South, I painted this view, only farther up the road a number of times.

 I like this, I'm lazy, and nobody's around!  Just a few cars driving by.....

My pallet, it's all one big pile of messy grey, some painters can keep their colors "clean" that wouldn't be me.


  1. As a beginning landscape there are a million questions I would love to ask about how this excellent painting thank you for posting what you have but would love you to include more info would be fascinated to find out more about your process, your choice of colours etc. (I'm in the UK!)

    Whats your favourite colours? Do u use black. Which kind of white/black, do u use a solvent/medium other than linseed. Do you draw these scene first. How do you descide what to exclude? Would love to hear more. Thanks for this Luke

  2. Hi Luke, I'm pleased that you're interested and want to know. I use two reds, alizerine crimson and burnt sienna (as a red) two blues, Utramarine and a TOUCH of prusssian, and two yellows, cadmium lemon and cadmium yellow light, I just started to put two whites out, titanium and zinc, I never use black, I'll mix a small pile of the ultramarine with burnt sienna, and that's my darkest dark. I only use a medium in the winter when the paint has been so thick it doesn't want to move, I use a mix of stand oil, damar varnish (diluted from crystals in turpentine) and turpentine, equal parts, when if ever the temps are above freezing I won't use any medium. I don't draw the scene, I squint a lot and usually (not always) place my darkest masses where they are, trying to get their placements right. Simplifying is crucial, try not to focus on any one thing and see the big shapes and get the general values first, the big areas. get the whole canvas covered ( a tone that's somewhere in the mid range value is good because you can let this mid tone function and put the darks and lights in first before you get the middle ranges. check back on some of the older posts and you might find stuff you'd like, send me some of your images and more questions, I'm happy to help in any way, most of all have fun, every painting is a learning experience, and I'm learning as I go too, so there are no rules, I've found a few things that I use, and try to change no more than one thing so I can see how it works, like a color on my pallet, or a way of setting up the scene. ENJOY!