Ah, painting with GREEN. You’d think it would be easy, just squeeze it out of the tube. But straight out of the tube has a plasticky- chemical taint, nothing in nature looks quite that way unless you’ve dunked it in a vat of toxic waste ala Batman’s Joker. So, you have to mix- and in lieu of toning down a color with white (which can make your painting look milky) or black (residues of red or blue, highly unpredictable), the teacher wants us to use the complement of green which is RED.
Underpainting- this is taking your canvas and putting a watered down color so you don’t have plain white underneath. Different underpaintings have an effect if you are using oils because some of it will come through.In a lot of portraits, the artists use red as the underpainting. For the canvas I chose, it had a reddish-orange underpainting, and I think that’s what makes this painting ‘vibrate’ more.
Note, sometimes I randomly throw paint on canvas and call that underpainting. Some days it is relaxing to just spread the color around on a board. Therapeutic.
This is the first painting, taken from a photo reference of the Morton Arboretum.
My teacher liked the background of this painting, but thought I lost control of it at the foreground. I will have to wait for the painting to dry before I go back and attempt to fix it. There is too much paint glopped on there at the moment.
We still had time remaining in class and I had a bunch of paint on my palette that I didn’t want to waste (ah! That Puritan ‘waste not want not’ ethic!), so I pulled out another canvas (no underpainting) and worked on this formal rose garden from a photo we took this past summer at Murnau.
My teacher didn’t like this one so much, particularly the yellow sky. Also, I was letting the camera dictate to me and one way cameras lie (they lie in soooo many ways, I have learned this through painting) is that straight edges get curved. My geometric formal garden should have nice right angles to everything and instead it is getting rather goldfish bowl.