Friday, September 17, 2010

Realist Landscape of CT farm in-progress, oil on mounted linen by Paul Baldassini

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Hay Tedder overpainting day 2

Here is Stage 3 of my work-in-progress which is proceeding much the same way as the previous couple of days work.  I tend to work in areas of similar colors. That is, I finished all of the green tractor areas before moving on to the tires.  That way I’m only mixing, for the most part, colors that I need for a particular area.  In the case of the mostly darker values in the tires, I kept my darks lively and mixed my “blacks” by many variations of Indigo, Perylene Maroon, and Burnt Sienna Dark cooling or warming as necessary and never adding whites, instead lightening with Sennelier Warm Grey.  That is my “mother” color and I mix it into nearly of my color mixtures to gray everything down.  That way, toward the end of the painting when I place some mid-value local color stokes here and there, I omit the Grey.  The color then appears jewel-like against the more neutralized other grayed-down colors.

The darkest values are glazed on thinly using my jelly medium (Old Masters Maroger, Flemish Formula) and progressively lighter and thicker values worked onto and into the thin dark glaze.  My palette eventually has many small patches of many different similar values and I just grab from this one and that one, creating more patches.  I use only one or two brushes, usually flats, and always with a rag at the ready in my left hand, I constantly wipe paint off before dipping into another color patch.  At this stage I will often work the entire painting with just one brush.  The work-up proceeds very fast and once I get into the painting zone some force takes over and its all very automatic.  Its great fun.

Next post will feature the finished painting.  Thanks for visiting


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