From a few weeks ago…A lovely sunny winter’s day working in the garden – loving the light and the warmth on my back! Not my usual palette but do like the way the cadmium yellow sits next to the phthalo green.
This post documents the initial stages of capturing my landscape studies.
It takes very few lines to remind myself just what attracted me to the focal point of my landscape. They may look like random scribbles but for me they contain a succinct reminder of the contours of the land, texture of trees and bushes, and horizon line.
The images below are cropped and their contrast and colours accentuated. These sit side by side the quick sketches, referencing colour and texture.
Below are the working drawings. I didn’t use the photos for reference preferring the freedom and spontaneity of the sketches.
Anders Zorn was born in Sweden in February 1860, the Zorn palette being accredited to him. The palette consists of titanium white, ivory black, yellow ochre and cadmium red. Although very limiting without the inclusion of a blue (black being it’s replacement) it never-the-less offers quite a good range of colours and tones. I wanted to try a limited palette so that my focus is mostly directed at mark-making and composition, and will be working further with this in my landscape work. I attempted to match my pastels to the palette and believe there is enough here to work with.
The original acrylic sketch (featured) was first worked in a bright acrylic palette before the addition of the muted tones from the Zorn palette layered over the top, process shots below.
Can you tell it’s cold here in New Zealand? It’s not uncommon for me to want to generate some warmth through using a warm palette. This sketchbook study is a version of the work below. I had taken a video of this layered process but unfortunately my phone declined to cooperate. I will try again on my next composition.