Building A Landscape Oil Painting
A Landscape Oil Painting Designed in a 1.5 Rectangle in the Key of Yellow
by Dot Bunn
Edited by James Cowman, Dynamic Symmetry Art
My method of painting is called indirect painting. Indirect painting requires an underpainting, an initial layer of paint on the canvas or painting surface to help create values. The underpainting may be grisaille, monochromatic, or even multicolored.
The idea of an underpainting is that the first applied coat of paint will be covered with additional layers of opaque and transparent glazing colors that modify the opaque layers below. The paint is allowed to dry between each layer. The glaze layers are applied over lighter paint, generally, so that the layers mix visually with those below it and create a translucent effect not easily achieved by using opaque paint. Building up the glazing helps to reflect light and create luminosity and depth.
Because I rarely paint directly outdoors, I rely heavily on taking preliminary photographs with my digital camera. These images are used as a resource to inspect details about the scene that I want to later reference in my painting. Over the years I have developed an eye for what would make a good painting. Very often, candid shots turn out to be the most interesting to work with. I currently use the graphics program Photoshop Elements. In Elements, I can enhance, crop, and adjust the color saturation in the photograph that most accurately matches my vision.
All of the digital photographs that I take I store on my computer and index it according to month and year. This system of organization allows me to later pull up an image that I want to use for a new work of art. For example, the picture below was taken in March of 2017 on Gayman Road, Bucks County, PA. This winter scene was photographed later in the day when the sunset spotlighted my subject.
Original digital image taken near my studio
For larger sized works of art, I start with a small value study in pencil on gray or white paper. The reference image above is rather dark, so the gray paper will be a better choice (because gray automatically fills in the middle values). I like to use Cretacolor Monolith woodless pencils which are available in a full range of hardnesses. Charcoal also works as well. I can then note any highlights with white chalk. This early stage value study doesn’t require much detail and is only needed to give me an overall sense of what the value range will be in the final painting.
Small quick value study in pencil or charcoal
The planned size of the painting was 24" x 36” so I decided to use a 1.5 rectangle to build the composition. Generally speaking, I won't select a predetermined sized rectangle until my initial drawing is completed. Once I have the idea down on a sheet of paper, I will locate the dominant angle of the composition. From this point, I will mold the design to use that particular angle.
Divine Proportion Calipers
In this picture I am checking the proportions by applying calipers that show me the division of a line based on the golden section equation. There are many tools that can be applied to a design to make it more cohesive. My mentor Myron Barnstone introduced me to a large variety of techniques that can be applied to a composition. For example, sometimes a control point can move the composition towards a vanishing point or the use of an arabesque will give the design energy and visual movement. The purpose of these and other design techniques will provide your work structure, theme, variation, and harmony.
Digital image on my computer screen next to my easel
The digital image is displayed on my 27” iMac screen which is mounted on the wall next to my easel at eye level. This convenient setup allows me to enlarge specific areas of the photo that I need to study more closely while I am drawing and painting.
The Root 1.5 Armature
I’m now ready to draw the image 24” x 36” so that I will have something at actual size to transfer to the linen panel. I place the rectangle that I’ve decided to use on a sheet of white paper (at full size) in red. The drawing is developed over the 1.5 rectangle on a sheet of tracing paper. This step allows me to reference the dominate divisions and angles as I build the drawing. At this point, I work lightly and loosely looking for visual connections and running angles that will balance the overall design.
Initial full size drawing over a root 1.5 rectangle armature
At this step, I make a smaller version of the 1.5 rectangle grid (see image below) so that I can easily move it around under the drawing to refine each section according to the divisions of the design.
Small Root 1.5 Rectangle under the upper right hand corner of the drawing
The final drawing will then be transferred to a linen panel. The drawing and designing of the composition can take two, three, or more revisions while always working towards the goal of creating visual cohesiveness.
Final drawing based on a 1.5 rectangle
From here, I place a sheet of newsprint that I have covered with charcoal on top of the 24” x 36” linen panel, charcoal side down and lay the drawing over it. I then trace the drawing onto the panel. So that I don’t lose the drawing during the painting of the first layer, I paint over the charcoal lines with black walnut ink. I make my own black walnut ink from the trees on my property. It’s a waterbased ink, so it remains intact when oil is painted on top. However, any waterbased ink will work.
Linen Canvas Panel with inked drawing
The above image demonstrates the 24” x 36” linen panel with the transferred drawing now fixed with waterbased ink. At this point, I can focus on value and color. Sometimes I work the entire painting in a single neutral color to establish a valuebased painting. This allows me to apply the color and obtain the correct values for the mood I’m trying to express. In this case I went directly to color.
My Circular Palette with inner wheel and glass on top
I use a circular palette that I made for myself. In the past, my students have asked me for palettes like the one shown above, so now I make a two part laminated palette that they use in class or at home.
Colors chosen for the key of yellow
My method of working with color has evolved from the Fletcher Color System, first introduced to me by Myron Barnstone. Over the years, I have developed my own system of color theory that meets my needs as a fine art painter.
To keep this tutorial as simple as possible, I will explain why I chose the color palette for this painting. The Fletcher System asks the student to select three primary colors that will control the overall mood of the painting also known as the painting’s color key. The majority of this landscape painting will be created using a cool palette.
As you can see from the image above, I will be using red violet and blue for the majority of the painting. I decided that yellow is going to be the key color to enrich the otherwise “cool” color harmony. Even though pure yellow will be the color that's least applied to this painting, it’s presence will be evident by adding additional spark and life.
So, to reiterate, the three colors in this key will be red violet, blue, and yellow. This controlled and limited palette of color is what produces visual harmony.
At this stage of the process, it's important to keep in mind that color is less important than value. In other words, the painting will appear lighter in value than what the final painting will end up being. Darker values should be added gradually to keep the lights “clean” and “open.” I use very little medium only if the paint feels too thick. I want the paint to flow onto the canvas like soft butter. If you're new to color theory, you can download the book Colour Control by Frank Morley Fletcher.
First layer of color
The initial layer of color is kept simple allowing the colors to be rich in saturation. After each work session, I allow the painting to completely dry (the whole canvas will be covered multiple times). At first, I lay down large areas of flat color. As the layers continue to build, I break areas down into more complex color notes to better reveal light and form.
Second layer of color
Third layer of color
Fourth layer of color
At this final stage, my values are completely established so I can now focus on building up the beauty in the colors. One thing to keep in mind is that controlling edges and saturation of color are essential for producing the illusion of depth and space. Additionally, sometimes during the second and third layer of color, I will go back and check that I haven’t strayed too far from the initial design. You can use white chalk on the dry painting to check and redraw any angles or dominate movements that might have shifted in the first layers, thereby reinforcing the original compositional elements.
"Fields of Snow " 24" x 36" Oil on Linen Panel
Final Thoughts
I’m sure many artists would agree with me when I say, at times, it feels like a painting is never truly finished. For example, I will often find myself looking at a piece I've done in the past and think there could be some further refinements made. However, at some point, you have to be happy with what you have accomplished and let it be. For the painting above “Snow on the Fields,” I feel that it’s complete. It’s currently framed and hanging in my studio.
Dot Bunn
Studio Oil Painter
www.dotbunn.com
Elected member of Allied Artists of America Member of Oil Painters of America
Represented by Patricia Hutton Galleries, Doylestown PA
