What started off as a cold Saturday, turned out perfect with the warm sun shining through the clouds. I got back out to Canyon Lake to find a scene on the Madrone Trail. This 8-9mile loop is on a long peninsula with some amazing views of the clear, cerulean blue lake. In the first mile, I found a side trail leading to the lakeside and found this old, gnarly tree. At first I dismissed it, but after looking at it for some time, I realized it was a perfect study in values and edges. The shadows and sunlit sides of the trees really stood out from the background shoreline and surrounding soft grasses. When I looked even closer I thought of something my friend Russell Cushman said about seeing color in the shadows. I could see all the colors in the shadows lit up from the golden grasses beneath it shifting the otherwise cool shadows with areas of warmth. While painting it, I wanted to feel the dramatic gesture of the posing tree and took time to get the paint just right for a single, bold brushstrokes following the twists and turns. It was amazing how the brushstrokes seemed to come to life. In doing this, I began to see the tree in front of me as brushstrokes. Heavy gobs of paint strokes, light and dry strokes, delicate lines… it made sense. For a random old, dead tree, it sure had plenty left to say and lessons to teach. I was lucky to see it. When you get out next time, look at all the colors in the shadows and how the ground around it paints it with warm light. It’ll transform the “mundane” into “beautiful”. (Thanks Russell!)
Here’s the reference photo of the area:
Titanium White, Ultramarine blue, Napthol Crimson (any orange-red will do), Cad Yellow Medium. After the initial sketch, I covered it with clear matte gel to prevent the paper sucking up all my paint as I laid down brushstrokes. (Thanks, John Poon!). I found my darkest area and lightest area where my focal point was on the tree and gauged all the other values from that. I quickly blocked in the sky, background, and foreground grasses around the tree sketch, just barely going over the edge of the sketch (~15 min). I then spend a lot of time really looking at the tree and thinking of getting the most out of the fewest brushstrokes and spent about three hours just on the tree. Really take notice of the warm and cool grays in the shadows. The last hour, I laid in detail on the grasses, keeping the edges soft and occasionally adding that color some place on the tree for color harmony. Lastly, I added some rock to the foreground to draw the eye into the painting towards the tree, keeping the rock somewhat muted to keep it from being a distraction.