Tonalism June 18, 2022 13:21
But I needed a break. My landscapes have never called for tons of detail, and I like painting them.
I did a couple using my long canvases (12 x 36"), which sold a print or two but are too large for me to get sales with at this point. I might turn the rest into NFTs when the market comes back up. It would be a good way to use up those canvases but still make some money from them and also get to keep the originals, which I like having around. So I will try that in a bit.
Meanwhile, because my small still life (9 x 12") sold right away, I decided to try some smaller landscapes, especially after I got totally frustrated with the mandrake still life. I have about 10 11 x 14" canvases that I forgot about, so I took one of those out. I intended to add the moon to whatever landscape I made, because me and my people love us a moon.
I started with a reference photo of some trees I've often photographed behind the apartment complex. I just like them as a group. I put those in against a background from another photo of a dawn in bands of gold, pink, and blue. I put the trees in with a combo of black spinel and prussian blue. I made only a few trunks and branches, and the rest was simply blotting a worn small brush around to make leaves. They came out well.
Next up, a moon, using my plastic circles thing. I knew I would touch it up again later.
Then, a group of crows flying towards the trees, and that helped me come up with a title, "Coming Home."
It was okay but to me the colors looked pretty loud after painting with a classical palette for the still lifes. And that's when I got the idea for Tonalism. I thought I might be able to create a Tonalist work simply by adding a glaze.
Some Tonalism is a little drab and depressing to me, but other Tonalist works feature the rich colors of sunset and landscapes made mysterious by darkness or mist. So I decided to try it.
I worked with a digital image of the wip to try various glazes on the painting. It seemed that a reddish brown would work.
So when the painting was dry, I oiled in and tried a glaze of transparent brown oxide. That made it look really dull. Too dull. I also tried making the moon brighter at that point, but it was too difficult not to mess the glaze up--nowhere to rest my shaky hand. And since the glaze wasn't really the right color anyhow, I wiped it off.
I tried again with transparent red iron oxide. That was a lot better but still too much on the dull side. So I wiped it off too.
I dug around in my red paints, of which I have a LOT. I needed something that was on the blue side of red to make the yellow more orange, the pink more pink, and the blue somewhat purple. But the quins were way too intense, the perylenes too dull, and I have a lot of scarlets.
At the bottom of the pile was a brand new tube of ultramarine pink. I opened it to see a purplish red on the dull side, and it's transparent. So I tried a glaze of that, using a very soft brush, my siccatif de courtrai, and some extra oil.
It worked. I might put another layer on when it gets dry to intensify the colors just a bit more. If I do, I will wait until that is dry and then finally lighten the moon.
I'm pretty happy with this painting so far. It really does look like a Tonalist painting, and it was quite easy and relaxing for me to do. I will make more such paintings, using different colored glazes to get different results. Really looking forward to exploring this farther.