"Marsh at Mayo" WIP

Pastel 18x14 on sanded Arches

Work in progress.

These are the steps I take in putting together a studio work in pastel.  I document this as much to help my own memory as to share my ideas.

1. Crop photo to proportions

2. Do a formal sketch to scale to correct design and verify proportions and placement of objects.

3. Transfer proportional drawing to Arches paper marked at the intersections of the register lines.  for this I use an orange pastel pencil.

4. I rough in the sky.  Then I add the deepest values with a dark purple NuPastel - #244 which I then wash in with denatured alcohol.

5. Design issues - I'm not liking the cedar tree on the right, and I'm having trouble getting the color and value to look "right."  I've rubbed out what I had and I'm debating about putting it back in or leaving it out altogether.  In the meantime, I will go on to the foreground and the water.

6. Most everything is in - just some details in the foreground to finish.  At this point, I want to give it a rest and come back to it in a few hours.

Dunes - on the easel

On the Easel - pastel 14x11, Dunes

I've been away from my easel for too long - needed to get something working, well...  this is the start.

Picture was taken without a tripod - the color is true, but...

"Refreshed with Rain" Stage 3

 

Pastel on gatorboard; 20x16

BIG MISTAKE!

Important lesson for using self-sanded gatorboard - don't apply denatured alcohol to "fix" a pastel under paint and then rub it while the alcohol is damp.  It takes the sand off.  Here is the result.  I had to "resand" the lower half of this work which wiped out what I had done.

Picture was taken with a flash, obviously, because I didn't want to take the time to set up a tripod for this tragic shot.

"Refresh with Rain" WIP

Stage 1
This is the first picture - taken to check composition and color foundation. I've found that setting the color of the sky and horizon first creates the "key" for the rest.

Stage 2
Changed some of the composition.  Working on "soft" edges using value and color in the background.


Pastel on gatorboard: 20x16

Resting - WIP

This piece has gotten beyond the drawings and reference photos - it has taken on a life of its own.  I needed a photo I could print to mark-up for the final assault.

Boat Channel II

Second Image 2:15 pm

First Image - 8:30 am

Work In Progress
Picture of work as it stands as I begin this morning as I begin work.
I wanted to get a picture up so I have a reference as I begin work on the reflections in the water.
I also see some other areas that need more attention, but one of the things I find sometimes are easier for me to see in a photograph of the painting than in the painting itself.
Second image has middle distance reflections painted. Trees still a WIP. Start now on foreground, especially the grass and tree on the left.
This is the stage of a work that can scare me. What I've done pleases me, and I am fearful of ruining a good start with a bad finish.

Boat Channel II WIP

Acrylic on Masonite - 20x16

I have worked the deepest shadows in the middle ground and distance and added first coat of blue to the water. The reflections of the grasses and trees will be painted over the blue, but I'm planning to let some blue show. The broad areas of water in the foreground will remain a reflection of the sky with some rework and intensification of the color.

The trees in the back and middle distance will need to be made warmer and more articulation will be added.

Boat Channel II

Acrylic, 20x16 Masonite

I started another effort at the Boat Channel - larger work on gessoed Masonite.

I want to track and document my progress. The first image shows the undercoat of ultramarine purple and permanent rose. The basic forms - the deepest values - have been sketched in using burnt umber.

The sky was added using ultramarine blue, phthalo blue red shade and white. I like the way the undercoat shows through, and I think I will leave that alone. It seems to add "sparkle" and interest to the sky.

Boat Channel WIP

Tracking my work in progress.

I'm not satisfied with the reflections, but I'm moving on to the other passages. Will come back when I have more to balance it against.

December Road - WIP

Above image is correct - looking west




This image is reversed - "looking east"

Just to make sure I am getting the design, shadows, values, contrasts, and feel the way I want it, I took a picture and flipped in Photoshop. Here are the results side by side. Instead of looking west the flip is looking east, if that makes any sense at all.

I have been taking extra time with this piece because of its emotional significance. I had taken my dad for a ride in the country near Harlan, and we stopped here to spend a few minutes reminiscing.

Winter Road - WIP

Detail of Work In Progress...

The problem here is that I'm dealing with a lapse of time - several days. I've been away from "December Road" for a week, and the inspiration and concept have grown cold. There are two big problems I need to address:

1. After the interruption, I see some problems in the areas I had done earlier, but I must avoid the temptation to go back and rework them. They were part of an earlier idea that I don't want to lose.
   
2. I find myself wanting to pull new colors into the unworked areas in an effort to transition to new ideas to add interest. The difficulty is to keep continuity throughout. That continuity is difficult because I tend to lose the "inspiration" over the week I've been away.

Time to go slowly, or I will destroy the piece altogether.

I think that after blocking in some of the areas (as was suggested by Carly Hardy) so that the color was consistent, I found it easier to remain faithful to my vision. Also blocked in the road to establish the "cool" contrast to the warm fields. I had to keep reminding myself to stay away from sharp detail and concentrate on forms.

The frost and remains of snow were a touch I want to add, but I'm having a problem getting the shading and shadows right. Snow on the open ground lower left may be a problem.