WORK IN PROGRESS – LOS DIAS DE ORO
(Color notes from July Blogpost)
(GLAZES II) – 36″x48″ Original Oil on Fine Belgian Linen
Projected date of completion – 10/10/07
In my last post to this web log, I demonstrated the difference between the underpainting and the beginning of the glazing process — laying in the dark, transparent colors. This week I covered the entire canvas with glazes — even thinning opaque paints to a semi-transparent consistency.
The two autumn trees: I thinned Yellow Ochre, Cadmium Yellow and Cadmium Red and brushed those colors over the shape of the trees to “tone” the ground. Then I began laying in the darker colors (Alizarin Crimson, Diox. Purple, C. Ox. Green Opaque) to create volume and shadows. I used Prussian Blue, Burnt Sienna and Chrome Oxide Green Opaque in the pinon trees at the top of the painting. The pastureland in the foreground and middle ground is a combination of all these colors to varying degrees of light and dark. I will let these colors set up for a few days before working into them again, otherwise the turpentine in my painting medium will mix with the heavier, opaque paints and create “mud”.
If you have any questions regarding this new painting, just give me a call at (505) 758-7454.
The two autumn trees: I thinned Yellow Ochre, Cadmium Yellow and Cadmium Red and brushed those colors over the shape of the trees to “tone” the ground. Then I began laying in the darker colors (Alizarin Crimson, Diox. Purple, C. Ox. Green Opaque) to create volume and shadows. I used Prussian Blue, Burnt Sienna and Chrome Oxide Green Opaque in the pinon trees at the top of the painting. The pastureland in the foreground and middle ground is a combination of all these colors to varying degrees of light and dark. I will let these colors set up for a few days before working into them again, otherwise the turpentine in my painting medium will mix with the heavier, opaque paints and create “mud”.
If you have any questions regarding this new painting, just give me a call at (505) 758-7454.
