After returning from Santa Fe I went through all the pictures from previous visits, and found what may be the best “sunset from the back porch” of the lot. I prepped new board and set up a painting station in the sun room, dialed up Sparks Nevada, Marshal on Mars from the interwebs and got to work. This image shows the basic composition plotted out, massed in, and some basic tones and underpainting ideas.
Here I’ve spent long enough in the sunlit clouds to necessitate a brief dabble into the mountains.
The mountains are nearly tuned in for tonality, which is essential for the colors of the clouds to play against. Next I’ll treat the blue/white of the sky to bring it all together.
Now I can see where the sunset colored clouds need amping up and toning down, blending out and defining further. While going back into the earth and sky as tonalities refine.
This is how the camera reads the finished work out in the sunroom with natural indirect evening light: the warm colors go crazy. The following images are in the living room with indirect day light: the warm colors tone down. The painting changes all day long, and this is my best indicator that I achieved what I was after.
It is pretty large at 4’x3′. If E was standing behind the painting with it on the ground on end, only her head would show.
Acrylic can’t be blended like oils, so colors must constantly be remixed and matched- which makes for multiple opaque and semi-transparent layers. The nearer to painting, the more layers can be seen; like relaxed pointalism.
Assumption of The West over the Sangre de Cristo Mountains, New Mexico