Blog

Weeks ago, I challenged a few artist friends to join me in a "Painting Small to Large" challenge. It has been good for us, as a group, to get going on some larger pieces.

We started with a pencil. Yes, I believe it's important to first create the design from the get go. Take your time to do this with at least two thumbnails, while simplifying the large shapes and dividing them into no more than five values.

This allows our minds to get into the creative state. I find this is a very good practice, especially if you are not set on what you want to say with your finished piece yet.

It works well in field painting, and is even more important when going big.

I decided on a floral and a Grand Canyon piece.

After our designs were decided, we painted a value study.

This is a great way to become settled on your design ideas, and I strongly believe that it will prepare the mind for the creative process as you move along.

Here is my experience with this approach to painting big. 

After the sketches, value studies and color studies you have learned a lot about solving problems. You know now what works. 

This is key - you also have trained the right and left side of your brain - the left side on how to tackle it and what not to do - and when you get to the big piece - the right brain can take over with the creative process and experiment.

Remember this - each sketch and study has prepared you for the freedom to create this larger piece. 

Also, each sketch and every study will have its own life. So then, the big piece will have a life of its own. DO NOT TRY TO COPY or it will show. (haha I know this from experience)

I think it makes painting the final piece a joy, because you've already done the hard work to prepare. it's going to flow!

Next, then, the color studies.

Next, Go Big!

Going big, I began with the Grand Canyon piece. I decided to tone the canvas very warm with Quinacridone Rose. I came back in the morning and decided to add a second wash into it, using the values and temperatures that worked in the color study. No opache paint at this point. 

Please note: I was very careful to hang on to the original large value shapes, while varying the values within each shape slightly, without moving outside of the value group.

Today I mixed the sky colors, then the foreground colors, into "mother color piles". I began with the sky and then began to paint the foreground with loose strokes within the larger shapes.

I tried to keep the sky simple so as to not take away from the canyon and foreground.

Stay tuned for the next step!