I have wandered back into my blue phase. This is good! And I decided that I wanted to paint tree scenes, because, well, I love trees. Who doesn’t? Anyway, I typically start with a blue underpainting because I have ingrained in my head that shadows are cool. The Impressionists said so. If you have been following my blog, you may remember one of the golden rules of working with pastel; work dark to light. So I start with my cool, dark colors. I also decided that maybe I need to paint more blue trees because I heard someone say that they were going to start painting blue trees. Imitation is the greatest form of flattery.
I still find it fascinating to see how others work, and will always be amazed by those who can start in one corner and work their way across the page to completion. I cannot do that. I have to work all over at the same time. I think it naturally follows that I would do so, because we work dark to light, I find it natural to put my darks in everywhere first. Although this does not mean that those who can start in one corner are not doing so. Here is an example of my underpainting. This is a little bit further along than just the underpainting. I did add a bit of the blue green and redefined some of my darks.
Still working my way from dark to light, I added some warmer colors to give the feeling of light. Being a colorist, I use color and value to create my vision. In other words, I am not just using a range of dark to light greens to paint my trees. Why? I just love color.
I continued working dark to light and felt at this point that I was pretty much done. After a few days of not looking at it, I came back to it and added more branches and subtle details. I like the abstraction and the feeling that we can sense that this is a painting of trees.