The Artist - UK (2021-04)

44 artistApril 2021 http://www.painters-online.co.uk

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p STAGE FIVE

I continued to develop the painting, especially the foreground grasses. I

used the previous mixes with the addition of the following for the details

in the grasses: permanent yellow deep and white; primary yellow, primary

blue and white; primary yellow, primary red, a touch of primary blue and

white. I used a Pro Arte Series 203 No. 2 rigger for the fine details. For the

cottage roof I used ultramarine blue, alizarin crimson and white and, for the

windows, ultramarine blue, spectrum red and a touch of yellow ochre

u STAGE THREE

For the gouache block-in I started to develop

the greens throughout the painting using

the following mixes: ultramarine, a touch of

spectrum red and a touch of yellow ochre

(for the extreme darks), ultramarine blue,

primary yellow, a touch of primary red and a

touch of white; primary blue, primary yellow

and a touch of white. Care was taken not to

cover all of the acrylic underpainting, which

was needed to increase the vibrancy of the

finished painting

t STAGE TWO

I began the acrylic underpainting. I used mixes of raw

sienna plus a touch of cadmium red applied as a very

diluted, warm wash in the sky and distant fields. For the

distant left-hand trees and the right-hand foreground I

used two mixes of Winsor violet, one diluted more than the

other. The distant right-hand trees and the dark gully are

a mix of Winsor violet, ultramarine blue and yellow ochre,

and the pale foreground areas are alizarin crimson and

ultramarine blue

p STAGE FOUR

Continuing the gouache block-in I also

worked on the distant fields and cottage.

The following new mixes were used in

conjunction with those from the previous

stage: yellow ochre, ultramarine blue and

white; primary yellow, primary blue and

white; primary yellow, primary blue, a touch

of spectrum red and white (distant fields);

yellow ochre, a touch of spectrum red, touch

of ultramarine blue and white for the cottage