The first thing I did was prepared the panel again as if I was starting on a fresh one. So I lay in a glaze of burnt umber + Raw sienna over the entire panel and put it away for a few days. Then got back to it with a fresh eye. It was a little hard to overlook or ignore traces of the underlying painting. I was running the risk of redoing the same mistakes as they were still visible from the transparent glaze. I kept working on it with a fresh eye, analyzing almost every brush stroke, stepping back every other time, checking it out in a mirror. Mirror, reverses the image and adds distance thus helping in identifying unwanted distractions in the scene. I was extremely cautious this time with every single brush stroke.
|"Green Meadows" 18 x 24 oil on panel|
Although I was in love with the reference image, I was not quite happy with the lighting. If you've noticed all elements (mountains, foliage and water) of the painting/ref image come together (left side) which is naturally a good compositional aspect. But I still wanted something in the painting that would stand out and take the viewer directly into the painting. So, using my artistic license "liberally" I decided to add a little bit of drama in the lighting. I introduced a streak of warm sunshine on the left of the foliage. Since the human eye is generally attracted to light objects, this warm sunshine takes the viewer right into the painting.
This lighting effect also uplifted the overall appeal of my composition.
The final painting turned out very successful. I was able to overcome the flaws I had committed in the first attempt. Every painting is a new experience. It feels great that I salvaged this panel from joining the trash. yay!
"Green Meadows" A speed video of my painting form start to finish
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