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1. Approximately four very light washes of Rose Madder and Cobalt Blue were layered into the background sky, gradated from dark at the top fading to Quinacridone Gold at the horizon. Masking fluid was used to protect the propeller highlights and I carefully painted around the sweeping upper cloud. 2. Next, light washes of Quinacridone Gold, Cobalt Blue and French Ultramarine Blue were built up in the thunderclouds but were grayed down slightly with Burnt Sienna. 3. The same colors and Viridian were used to lay in the island and water. 4. Careful gradations of the same colors were applied to the plane. 5. At this point I have hit the painting everywhere multiple times but I was still missing much of the mid-tones and darks. From this point forward I slowly built up the darks adding my powerful staining colors, Indigo, Winsor Violet and Carmine in various combinations. I always gradated from these darks to the other colors mentioned early for clean color transitions. 6. Working all parts of the painting to completion is extremely helpful to keeping the values exactly as I envisioned from the start. Working in layers, wet paint on top of dry paint is a powerful way to keep color clean and to capture the effects of light! |