This humble little board has come a long way from its hurried plein air beginnings out amongst the fire scarred trees and stony ground of the Bushmead Rifle Range. After the previous session, I leave it to dry. The end is in sight now with one more push.
I paint in the major tree trunks which gives me a tonal fulcrum to lever the contrasting high notes against.
For the sunlit leaves I turn the dial up to 11! I stretch my palette to its absolute physical limits then take it a little further beyond as I borrow some Divisionist and Pointillist techniques from the French Impressionists.
Looking at the painting back in the studio, I can take the time to really consider what I have. I can check my design and drawing and plan any adjustments that need making.
I work out how I’m going to approach each of the various passages in the painting and in what order I’m going to tackle them.
When painting landscape on location, I am surrounded by the sounds of nature – wind rustling the trees, cockatoos squawking overhead, crickets chirping – a constant orchestra of natural sounds provide the audio stimulant to my painting efforts.
But what about when working in the studio?
For me, sometimes silence is all that is required but more often than not, I need music.