This painting led to my latest lesson in art photography. I finally figured out how to squeeze a distorted photo back into a rectangle! Making no sense, am I? (I use the lens correction tool instead of the liquify tool, although I think they're the same thing, different label.)
This painting will soon wend its way along with Parc Omega (right, top) to join their brother from 2013 (right, bottom).
Interestingly for me, the snow was not too tough to do. I did have to go over it a few times, because every time something changes colour in one spot, every other bit of snow needs a redo. I tinkered around getting the right shade of blue, and the trees, well, they were a bit maddening. I struggle to come up with so many grey-browns, and learned quite a bit about my palette in the process.
One of the ever-tantalizing sirens of art-making is the colour chart. Remembering how I made a colour is a non-starter, so either I have to keep a picture-by-picture record of the colour mixes I did, or I add to my colour chart as my mixes grow.
Making these charts up is something I really enjoy. Some big holes in my paint collection include the basic flesh tone paints, which is why my flesh tones are so flat looking and pink. I could do very few skin tones with what I have.
Which means that I'm going to fill that hole with the money I made on those two paintings!
The paintings' owner's daughter plans to name the forest in winter painting. I am keen to hear her decision. I'll let you know what she decides.