Here’s another painting of a scene photographed from the train I take to visit family across the mountains. I’ve been photographing this same view for a few years now, but this is the first time painting it.
Mostly it’s painted with manganese blue (genuine, from an old tube) mixed with a little charcoal black. The browns are a mix of brown ochre, Indian red, and ultramarine pink, because those were the other three paints I had decided to use as the palette for this week.
The paper is from a sheet I’ve been storing for a few years and is really nice, but I don’t recognize the watermark logo and there’s no name on it.
It lifted fairly well, is a bit smooth but still allows granulation, and the paint went on easily.
This is the same valley in the Rocky Mountains seen in this post a couple of weeks ago. The brown is walnut ink from a fountain pen, which is not waterproof and in some places I used a wet brush to blend it. The black is from a Micron brush pen.
Mostly I just started drawing this to try out the combination of tools. I haven’t used this brush pen for a long time and wanted practice making something with the tools that I’m planning on taking on a trip. It was kind of tedious doing all of the shading though. Getting some grey ink might have been better than crosshatching with the very tip of the brush pen.
A couple of weeks ago I saw this American robin in the aspen tree in front of my house. For some reason birds always act like they think you’ll reach up and grab them, even though my arms clearly aren’t that long (and I wouldn’t, anyways). All of the paints for this I made myself from dry pigments.
Here’s a drawing from yesterday that was made with a fountain pen. It’s actually a copy of one of the photos I posted here about four years ago.
This scene is copied from a photo I took of the Colorado River in the Rocky Mountains. I think it was a little east of the Upper Gore Canyon, after the canyon opens up into a relatively broad expanse.
The five paints used on this were made from scratch with dry pigments. The palette can be seen on Instagram here. The yellow and ultramarine were only used a little. Mostly it’s zirconium cerulean, red ochre, and mars black. Because the cerulean was weak in mixes, mixing a large amount of it to the mars black produced a useful cool black that was easy to handle and wasn’t overpowering. The granulation from both of those and the red ochre did make it a little difficult to really get the smoothness of the water or the ice in the foreground. This was painted on the back of a piece of 140 lb cold press Arches paper, which I’m starting to prefer over using the front of the paper.
The setting for this painting is in the same Azure Valley as in the last post, and because I’ve passed through there many times I have many photos from different times of year. One of them had a buck walking through an open area of snow with some scrubby brush and low trees around. It seemed like a good start for a scene, but he was too small and the brush too far away, so I made a few edits to the photo.
After cutting the buck away from the snowy background and positioning him closer to the darker and more interesting shapes of the trees and brush it still seemed too minimal. I did like the contrast of the brown against the cooler background colors, but the lighting on that cloudy day wasn’t very interesting.
These two deer were in that same area, maybe even the same field, but on a different day. I liked their different poses, but they didn’t fit into the vertical format I was planning. By cutting out and repositioning the deer on the right to be next to the deer on the left it helped them fit and also changed the dynamic between them. Now their closeness might better emphasize a sense of togetherness and mutual trust.
I then drew everything with the lead holder, seen on the far right, with a 7H lead in it. Everything was painted in sections, with each section being mostly finished before moving on. There were a couple of other small brushes used after this photo. The palette for everything was the five color palette I posted on Instagram a few days ago here.
This may or may not be the Azure Valley of the Colorado Rocky Mountains. At least, that’s what the train conductor keeps calling it, even though I can’t find the name online. It’s one of the best places on the whole trip through the mountains. There’s often mule deer, elk, and sometimes bald eagles flying or perched on the taller trees. The Colorado River passes through here.
The palette for this painting is the same as for the last sunrise painting, with all of the same colors being used. There wasn’t a black or grey on the palette, so I made a black by mixing the Prussian blue with the sicklerite (brown) and a more opaque grey using cerulean with sicklerite. For the browns of the tree I mixed quinacridone red, new gamboge (yellow), and more sicklerite. The base coat for the tree was painted using that warm orangish brown mix, and then on top of that some of the black mix was painted in various amounts for the shadows and details.