Step 5 - COLOR HARMONY
Since the most striking colors of this scene come from the turquoise water, and the orange sunlit foliage in the foreground, I decided to punch up those two colors as much as possible. My turquoise in the water and sky is a mix of phthalo blue and phthalo green. The orange in the foreground is a mix of ochre yellow and perylene red. Violet-grays in the rocks and clouds are a mix of ultramarine blue and perylene red. Greens in the trees and shrubbery are a mix of ochre yellow, cadmium yellow and ultramarine blue. If you place these pigments on a color wheel, you will find that they are arranged in a nice symmetry so they should work in a painting.
Step 6 - ADJUSTMENTS
In most of the cases adjustments of color, form and values take the most effort and time in my painting process. I wish it wasn't so, but I haven't figured out yet how to get it all spot on, in one go. I doubt that I ever will. And in any case, making changes can be a fun path of discovery...for the most of the time. When things just aren't coming together and I start feeling frustration, the best thing to do is stop and come back later. Sometimes we get fixated on some particular idea and we don't see a forest from the trees. Coming back after a rest usually allows me to step back and take in the whole thing without prejudice. Either a fresh idea emerges or I realize that what I thought was a problem, isn't a problem after all.
Step 6 - DETAILS
Finally I get to work on those delicious little details that many of us like to fiddle with - the grass, the negative spaces around trees, little shadows and forms in the rocks, highlights, etc. The idea is to add more where it is required, and obfuscate where I have put too much.
|Botanical Beach, acrylic, 30x40|
I just got an idea to transition color of rocks from warm to cool as they move from the foreground to the background. Since this would be a big change, I think I should leave the painting alone for a while until I convince myself that the idea is worth pursuing.