Because of drying time, sometimes I can add only a few new color blocks. This is coming along very pleasing to me. The greens are not in your face. They are natural, of nature. Many greens right out of the tube are too over colored for my work. Except for the viridian on the lower left corner, I mix all my greens as I did for my landscapes.
I don't always know what I am going to paint, what the subject, if any, will be, or even the feeling . However, this painting, Rancho Bodega, is a place. My husband and I attended an epic birthday party in late June on the private property of our friend. We and many others camped over for 1 or 2 nights with all the expected party festivities. It was not disappointing. We were in the middle of redwood groves and native ferns, creeks, open fire cooking and fun, warm hearted people. I went for a walk the first morning and wandered along a typical California golden field, a soft, pale gold appreciated the way only a Californian can. The sun shone from a blue laden sky upon me, the field and the oaks and other wild growth. It was affirming. I was alive in a gracefully elegant place, and made a note to myself of how I wanted to paint that memory. Blues, golds and greens.
I missed the first couple days of capturing the progress with my phone, but here are 2 painting days with more to follow.
Today I completed my latest painting. I have not yet titled it, as it has no prevailing thought. It is a color exploration based on the previous "California" oil painting. The colors feel agricultural and warm, feeding me and my love for summer. What does it feel like to you?
I am continuing the progress on this painting which does not yet have a title. The painting has a number of slight adjustments to be made, so I won't post it again until it is completed. It has a few of things that are not working, but I am really happy with the energy and the colors that are emanating and the course that the color harmonies have directed themselves. When I see the digital image, it is far more harmonious than the painting is in person. The darkest dark on the left is just too dark, and it is adjacent to a pale yellow ochre. The contrast is too eye catching. I don't want that area to be the focal point. In fact, this painting is so radiant that I don't want an obvious focal point, but only for the eye to travel and rest.
I managed to gather a few more images together from preceding days of painting. You can see that I sometimes change a hue in the middle of the process, but usually I wait to the end to change a color that has already been painted. The reason being that it sometimes works out perfectly, and I need to look at the whole canvas before making such changes. I have to say, the deep blue color blocks in the center column are really bugging me, and I sense a change coming on real soon.
Luminous Color Explorations
My name is Jill Keller Peters, and I am passionate about using color as a language to