Work in Progress
I decided to forge ahead with this larger oil painting of Bryce Canyon, while the series is still fresh in my mind. The canvas type is pre-stretched Belgian linen with a super smooth surface, measuring 24x36.The sky consists two coats of transparent magenta, thinned with turpentine. The one inch flat nylon brush works well for the wash. Using burnt umber was ideal for the canyon sketch, because of its opaque qualities and dark color. From past experience, I know that I can apply a wash of burnt sienna over the sketch once it is dry, and still see the lines. The foreground is covered with two thick layers of burnt umber. I will let these layers dry for several days, before applying the next.
(My definition of a wash in this case, is a mixture of paint thinned with turpentine substitute. Other mediums can be used to thin paints, as well.)
Planned underpainting with a variety of colors is a different approach than that of my last painting, “Wall Street”. I begin this one by separating the layers into the sky, canyon land, and foreground, rather than working from a single toned dark canvas.My strategies for underpainting vary. It depends upon the size, mood, colors, and complexity of the image, while considering the relationships between one layer to the next.