Cyprus, day 1, underpainting
My painting process is usually one of layering paint on the canvas in a darker hue than is going to be seen in the finished painting. Parts of this original paint may be seen in very small areas of color on the finished painting or the color may influence the color layered on top of it, but that is what I am going for. The composition is only partial at this time. Here is an example of a painting after the original colors were put on the canvas.
The second putting paint on canvas process is to complete the composition and to start adding lighter and less intense tints, tones, and shades of color. Here is how the second layering process continued.
Cyprus, 2nd layer
Notice that I added texture to the paint and changed the color and intensity of the sky for the second layer.
The final layer included extending the trunks, adding even more texture, adding highlights and generally adding tints to pop the color more.
Here is the last layer and perhaps the finished painting. I generally need to live with piece for a week or longer before I sign it and call it good.
I don’t have a title yet for this painting of French Cyprus trees. Any suggestions?
Not too long ago I went to a somewhat prestigious “intensive studies” painting seminar/workshop. It was a 10-day event that was designed to give serious artists feedback/critique about their work. It was an interesting experience because there were several teachers who floated around among many participants giving their feedback. Some of the feedback was contradictory, and therefore challenging. While I was at the workshop, I felt the need to write this poem about the rules of painting:
The Rules of Painting
They tell me that my paintings must have intent,
To convey a meaning.
They must also reflect all of the rules.
There are many rules to follow to create a work of art.
No faces on abstract figures.
Someone may see themself.
There should be no random, lost or adventurous lines of paint.
All colors must be blended like vanilla cream cheese frosting.
It is best to use muted grays.
Bright, intense color can be jarring
And may upset a little.
Orange is fine.
I think that one of my paintings done at the workshop especially reflects my overall impression of my experience.
Tangle, 11×14, acrylic on canvas, ©2011, Ann Hart Marquis