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Sep 21, 2015
Media: Watercolor on Arches #140 Cold Press Paper, Mounted on Hardboard
Size: 6x6 in
a painting of the red rock country of Sedona, Arizona. I have been wanting to paint these amazing rock formations forever since I paid my first visit to the desert country of the grand canyon state in 2008... I used a primary palette of Winsor Red, Burnt Sienna (a muted orange serving as my yellow) and Winsor Blue for this one, painting the sky and the clouds mostly wet-in-wet while patiently layering the red rock shapes from light to dark, softening edges where the cloud is in front of the monolith, adding dry-brush texture toward the base. The small foreground tree shapes were painted mostly using the 1" slanted bristle brush to get the rough silhouette of the foliage, and the linear marks of the branches were added where I think a line may compliment the dark mass. I was happy with this first effort, but would like to paint it again to explore different format and play with horizontal as well as vertical composition, to see how they can give different mood to the painting. This is what I really like about the 30/30 project -- it prevents me to linger too long on a small piece of the paper and opens the doors of experimentation. Each project by itself does not become overly precious. But as a body of work, I can always see my progress through them very clearly at the end of each challenge...
a painting of the red rock country of Sedona, Arizona. I have been wanting to paint these amazing rock formations forever since I paid my first visit to the desert country of the grand canyon state in 2008... I used a primary palette of Winsor Red, Burnt Sienna (a muted orange serving as my yellow) and Winsor Blue for this one, painting the sky and the clouds mostly wet-in-wet while patiently layering the red rock shapes from light to dark, softening edges where the cloud is in front of the monolith, adding dry-brush texture toward the base. The small foreground tree shapes were painted mostly using the 1" slanted bristle brush to get the rough silhouette of the foliage, and the linear marks of the branches were added where I think a line may compliment the dark mass. I was happy with this first effort, but would like to paint it again to explore different format and play with horizontal as well as vertical composition, to see how they can give different mood to the painting. This is what I really like about the 30/30 project -- it prevents me to linger too long on a small piece of the paper and opens the doors of experimentation. Each project by itself does not become overly precious. But as a body of work, I can always see my progress through them very clearly at the end of each challenge...
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Available Paintings by Arena Shawn
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