Lesson, Stage I
I cut the canvas from a roll of primed cotton duck, with three inches to spare on all sides so that the framing gallery can have an easy time of stretching it before they frame it up. Easier to ship to them, too!
Then I coated it with a good layer of gesso, leaving brush marks for interest, and after that dried, I took some bronze yellow (oddball acrylic) and toned the canvas. That's the yellow you see on the lower two-thirds of the image.
I looked over my William Wendt paintings, and the image sent by the decorator/designer, and then drew up my own interpretation of both.
It is odd for me to begin a painting with the sky and paint downward, but the sheer size of the canvas made normal working conditions challenging. Still, I can see the finished painting in my head, so working on any one area isn't too much of a problem. At least not if I keep reminding myself of where and what the focal point is going to be, and therefore subjugating all the rest of that huge canvas to it.
The sky is the usual suspects of Ultramarine Blue, Alizarin and Titanium White, with a touch of yellow ochre to gray the mixes. The clouds lights are Titanium and a touch of cad orange. Distant mountains are grayed versions of Ultra blue and thalo green with burnt umber and white, some of the warmer areas are tinged with yellow ochre.
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