|After the water spout, Eastpoint|
Oils 24" x 30"
I started off with thin turpsy glazes of colour. I do enjoy doing more of this thinner work in a studio painting, because you have the luxury of being able to walk away and let it dry in between layers.
Soon after establishing the mid tones and darks I wanted to put the sky colour in to get a better idea of how it would all be working together. The sky had to be dark enough to eventually show off that white side of the building that was lit by the rising sun.
From then on it was a case of building up the darks and the lights, until the painting said what I wanted to say. I did at the last minute decide to add a figure and a car, but tried not to make them stand out in an obvious way. If you didn't even notice them, that's great!
It was important to me not to go too far and add all kinds of extra details that I wouldn't be bothered with if I was painting the subject 'en plein air'. The sketchy treatment of this foreground feature probably sums it up.
'Say what you need to say in the painting then get out. There is no use chattering on after you have made your point'
I never remember who said that, but I always remember those words!