Recently we had some very dense fog, which put a whole new twist on things. Everything seemed so much more interesting. There was all the color of fall, but it was so much more subtle and soft in the distance, while anything close up was extremely saturated.
Lately, I've been doing all my painting on white with a value underpainting done in either burnt umber or burnt sienna. I did each of these on a different color toned stock, warm gray on the first, gray blue on the second and then tan, with no underpainting. I wanted to see if perhaps one color would have any special advantages for a situation like this. That, and I'm running low on paper.
I can't say that I saw any benefit of one color tone over the other, for achieving the look of fog, but the warm gray was much easier to choose which pastel to use. The blue tone made every color seem to turn yellow or orange-ish. The tan made everything look green.
That was a good lesson for me, in how much light reflects off the surface and how it affects the colors laid on top. Also, I find it much easier to already have value patterns established in a single color, and then match the color to the value.
Really nice, Dan - love the tonalist, atmospheric feel to them. I know exactly what you mean about the optical effects of fog on the local colors; it's really interesting, isn't it? I've never tried painting it, and I don't particularly like being outdoors in such conditions (let alone trying to drive in it!) because it usually means cold and damp, but I really enjoy land paintings with fog. Go figure!
ReplyDeleteWhat you mention about the effect of the paper color's influence on the pastel color is exactly why I don't care for colored papers very much.
BTW, what sizes are these and are they on Wallis that you toned?
Very nice work Dan. I love the middle painting, it has great atmosphere and mood.
ReplyDeleteThanks Dalibor, that was exactly what I wanted to portray.
ReplyDeleteSonya thanks for checking in! I still see the benefit in using a toned stock-- I still especially love a salmon color underneath a snow painting -- it's just that right now I seem to benefit more from a value underpainting. I think it all comes down to what ever gives the painter the best end result, or perhaps whatever the painter is most comfortable working on. Right now I prefer working on, and am most comfortable working on white with an underpainting, I just don't have any left.
All are on Wallis toned with acrylic combinations. The first is approx., 8x8, second is approx., 12 x 8 and third is 12 x 9.
Dan, I feel I'm right there in all of them, but the last one is my favorite. To me, fog invites introspection. You have conveyed the mood so well.
ReplyDeleteThanks Adriana, as I count your fog paintings among my favorites, that is a fine compliment.
ReplyDeleteYes, I also believe fog, like a covering of snow, quiets all the exterior noise and allows for introspection -- and perhaps a higher level of concentration. All the things that fight for attention, like all the brilliant fall colors, become much quieter making it easier to decide which should receive priority and which should be subdued.
Love all of these paintings!! Just gorgeous. You captured the look of the dense fog. It's hard to believe the first one is only 8x8. Again, Beautiful!!
ReplyDeleteGreat atmosphere and mood. Beautiful!
ReplyDeleteMonica