Saturday, May 1, 2010


Some time ago on my regular visits to Meaford to see old friends, I made an oil sketch.  Some of you may know this place and or this site.  It turns out that it is a split complement colour arrangement.

Beaver in the Beaver, 7x12, Oil on Board

7x12 you say.  That is the end of a door skin that was cut into my regular plein air panels.  A change up in format and size.  I thought this might make a larger format painting.  Being spring, and with a large work on my studio easel, I decided to expand my territory.  Recognize this?

42x68, In the Garagio, Ready to Paint

Using the 7x12 as my reference along with sketch book material the start is easy - a wash of viridian and transparent red oxide - seasonal colour to assist in colour harmony for the landscape.  Pretty rough.

South Light, Window Wide Open, No Black Flies Here (Yet)

Just like plein air.  The blinding light compensation rule is in play.  Now the challenge.  That little painting has very little detail or information in it.  Smalls work that way.  But taking a small BIG is another story.  Everything is more important.  The edges, the shapes, the colours, values, and paint quality.  I have only my notes and the colour sketch for reference.  No squinting to save me.  Much more information needed.  In addition, the sketch was done with a #12 bristle filbert and it has a certain immediacy.  The equivalent size brush for this canvas is a roller, but it is being used to paint the bathroom.  So I start with my 4 and 6 inch Escodas.  A lot of paint........

Lay In, Stand Back for Correction Detection

In addition to adjustments and corrections, I have to decide whether to follow the liberties taken in the colour sketch or follow the thumbnails in my sketch book.  If you think you know the location for this work, it would be more identifiable if I revert to the sketch book.  I'll let you know what I decide to do.

All bristle brushes from 6 inches down to number 20 filbert.  Scooping the paint on as the lay in proceeds.

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