1. The canvas is toned with pigment
2. Values are blocked in keeping the composition in mind
3. I start to put in the grasses and Reeds. Impression, not realism is the key, colour is varied and blended for depth and texture.
4. I continue working on the grasses, brushwork is varied as is value and hue.
5. When working large it is vital to stand back and gain perspective on work in progress, checking for consistency and composition.
Brushstrokes are added to give the impression of reflections, then softened with a large brush
value, hue and intensity are worked in varying layers and depths, blending with a soft brush each time
The light Blue areas are roughed in and dragged through the darker areas
whole area is blended with a large soft brush to give the impression of water
light areas are added, working and blending until the value is reached
My signature is carved into the wet paint, often before the piece is finished.
I stand back to take an assessment, judging composition, value and movement before procedding
A scattering of highlights and some calligraphy are added as a final touch
