I want to tell how I paint an artwork and why this is a work. Here you can watch how much time does it take to paint several blades of grass:
In the autumn I ordered a frame 75x120 cm (30x47 inches), stretched a canvas and started to work. For me it was a giant size, because even a small study 20x30 cm (8x12 inces) takes up to a week of work. I had transfered the drawing precisely from the study, made an underpainting, made a texture layer on the foreground, and when I started to set the colors of the trees, the foreground and the background, I had encountered the problems: it was dark, too contrast. And the colors were too saturated. Ok, nothing awfull, will make it right later!
When I had started to work on the sky, it appeared, that with the time I had to work, I not only can’t to pick up the right color of this sky, but I even can’t to paint it, anyhow. In several days the paint got dry and became a dense mess.
I somehow had finished the sky, but when I tried to paint water, I had encountered the same problems again - I didn’t had enough time. Moreover, I had to paint the reflections softly! I barely managed to paint the water so that the paint wouldn’t get dry, but not the reflections. But I wasn’t missing the hope that I will be able to plunge them softly into the water.
How to paint the reflections also was a riddle. In the study I had made them as smoothly blurred vertical lines, but I didn’t painted a branch. On the photo there were only the trunks also. I was lucky: I just had bought a book about light and found in it that such a ripple as was that day at the river reflects only vertical trunks and brunches, not the horizontal.
In the end I had made the reflections, but I wasn’t satisfied with the result, I didn’t managed to paint them softly in the water. And all the relations in the painting were rough. The study was better. Furthermore, on such big canvas the right side of the field seemed empty and boring. I understood that if I need to change that, I need to make all the work from the beginning. In the spring I decided to start the work from the beginning, despite of the time I had spend on the work.
I and the unsuccessful version of the painting :)
I had taken the mistakes in the account and this time I ordered a smaller frame to have time to paint big spaces while they are wet. In the end of the summer I started the work. I changed the positions of the trees, feeling the riverside with them. I made the underpainting once again, made a dense layer of paint to depict the texture of the grass and the leaves at the foreground. Then I made the approximate color of the riverbanks. To work thoroughly I stared from the sky. I painted its light part with the light-grey, almost white color. This spot became a tuning fork, a reference point, for the rest tone. Comparing to it, the rest should slightly, barely perceptively, get darker. Then I made a water, slightly darker than the sky, and picked up the rest tones comparing them to the water.
The work on the color happened to be really exhausting. From all my works, in this one, I felt how the neighbor colors influence the perception. Just add a bit more green and the color breaks from the colouring. I had to make many layers on the first plane, but I was pleased that the mess of the paint turned into the leaves and the grass, which were interesting to view by themselves. And, finally I managed to paint big spaces while they are wet.
If I managed to express the image is for you to decide!
Click on subttiles button (left to the “gear” on youtube)
- Place paints on the palette in a certain sequence. For example, the cool paints - vertically and the warm paints - horizontally, in the rainbow’s colors sequence.
- If the colors will be adjacent on the artwork, then they should be adjacent mixes on the palette.
- After the work you can clean the paint by palette knife and rag. If you need to safe the paint, put it in the tube and knock with the tube so the paint will fall inside.
- You can save the palette with the mixed colors in dark and cold place, and then to start the work again, after thawing out the palette.
- If it is possible, avoid adding in the paint additional substances like thinners, lacquers and oils.*
*It is not about underpainting. Because the layer of underpainting is thin and the color is often is covered by the next layers of paint, underpainting is painted with the right thinner.