Under the umber-ella of experimentation

Last time I showed a couple of my early experimentation with raw umber, using it for the basic dark tone on my palette, in lieu of the colder black.  Those paintings were done over a pre-applied imprimatura to lend an undercoat of color to the three-primary-color palette (plus raw umber and white) that I had limited myself to.

My third study was on a white-gessoed but unpainted canvas.  I sketched in my areas of darks using the raw umber and allowed it to dry overnight as I evaluated any changes I thought it might need. I realized that I should have given the entire canvas a light coat of the alkyd medium to make it easier to adjust the sketch.  Fortunately, there was little that needed adjustment!

The next day I covered the entire surface with a light coat of the medium and began the work in earnest.  Once again, the pre-applied dark areas guided me through the design, helping me to adhere to the original notan structure.  I altered details somewhat as I proceeded, identifying features I wanted to take advantage of or eliminate, and recognizing that some of my earlier ideas could be improved to enhance the focal concept or the overall design.

“The Rim Trail,” by Charlotte Mertz  (7”x7” oil, #190903-o)

“The Rim Trail,” by Charlotte Mertz
(7”x7” oil, #190903-o)

This composition was suggested by a scene I had enjoyed at Yellowstone, but as I worked with it, the “music” in my mind began to shift into another season, a variation on the theme, so I took some artistic license as it developed.

 

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