Most landscape painters will be tempted to paint a sunset at some time. One thing I tell my students is to make sure the do not just use black (I don’t actually use any black) for the very dark silhoutted shapes. I liven them with an underpainting of the brightest hues in the painting, then I bring in the darks mixed from the darkest pigments on the palette. I usually “mix” as much on the painting surface as on the palette to keep some life in the darks too. This view of Chasm Creek also had a few buildings within the dark area. This was good as it gave some relief. This painting is all about the light.
For the past week with my art classes we have been enjoying using cling wrap to create exciting textures in watercolour. With practise one can have a degree of control over the patterning but as with many of the techniques I prefer, part of the art creativity is the serendipity of it, and working with what happens. My starting thoughts for this particular painting were sunlight and forest. I chose a lemon yellow, cyan and a little red (all transparent), put bold colour on the wet paper, arranged the cling wrap then left sitting for a while before drying with the hairdrier (in a class I often need to hasten drying of my demo works). I then worked quite extensively into this “base” letting the patterns suggest the evolution of the piece.
Can you see the remnants of the cling wrap patterning? I do not like such techniques to be too obvious. They should enhance the painting not be the primary focus.
We will look at this again in classes this week so if you are able to attend a session on Tuesday or Wednesday evening (7.30) or Friday afternoon (1p.m), you will get instruction in this. (I can provide gear).