Here is the painting that I showed you the the night that was all in violet (not inviolate). I have colored the image up and chased down more of the drawing.Tomorrow I will take it off the stretchers and roll it up. I only brought one set of 24 by 36 inch stretchers, and I will put a new canvas on them. I am carrying a roll of Centurion oil primed linen from Jerrys for which I paid less than a hundred dollars. The stuff is a little thin, but the surface is fine and is free of defects. So far I like it. I don't think I have used enough of it for long enough to give it my stamp of approval.I don't try to finish things entirely on a trip like this. I need to produce as many "starts" as I can. Now I have plenty of information on the canvas. The painting needs more art, not more information. That I can hopefully provide it in the studio. I have photos to remember the place by, but in practice I hardly use them as I change things so much, and they provide information, but not art. A piece like this may see a weeks worth of work in the studio before it is finished.
My art sells because of the things I do in the studio. My paintings are tighter than the average plein air painter's. But most of my efforts there go to getting finish, not adding detail. I try to keep the brushwork fluid and not tighten down on the piece with small brushes. I develop patterns and enhance the design. I fool incessantly with edges to get the painting to flow the way I want. I link my darks, simplify overly complex passages and tweak color notes here and there. I "police" my shapes carefully trying to make them unique and avoid repetition. When first I bring a painting into the studio, often the work is only half done. Sometimes I can finish a painting in the studio in only an hour or two, but usually I have to pull my hair out over them.
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