Although darker than recent paintings, there is no black used in the shadows.
All 3 colours used are very transparent. Raw Sienna, Burnt Sienna and Prussian Blue retain it even when mixed together. Any 2 will produce good effects and the addition of the third colour will begin to add opacity.
One way of taking advantage of this transparency is by using solvent in a ‘wash’, like with watercolour. The problem here is the texture of the canvas. It becomes way too noticeable as the paint flows into the weave. Working the paint ‘dry’ into the weave gives the same transparency without the ‘dotty’ pattern. This colour will be intense as seen in the green of the distant foliage in this painting.
The background haze of colour was a solvent wash of colour with white added. This is opaque and although it does flow into the weave, because of the opacity you get an even ‘dot’ free layer. The reason for the solvent wash was that it would evaporate and the resultant paint, containing white, would not interfere as I ‘brushed-in’ the rich greens later on.
The painting is 12″ x 9″ and was painted in an hour and a half. I used a little Liquin to help with the fine lines of the trees otherwise it was solvent only painting. The second dipper on the palette has the Liquin plus White Spirits solution. Notice I use a pipette to transfer this medium and also the White Spirits in the other dipper, to the paint mixes. Although dippers are supposed to be for dipping, I don’t like introducing a paint covered brush into either the medium or solvent solutions, it always causes a mess with both solutions ending up contaminated with paint. Also the amount of either solution can’t be controlled by just dipping the brush.
Here’s the video of the painting process. See you soon.