Getting Down to Paint on Muriwai – Part 3

So now that the aluminium panel is all prepped and ready to go, the first step is to mask of the bottom half of the painting. I use just a piece of paper and 3m automotive masking tape. This type of tape has a higher bond and resists paint from bleeding underneath. The first color for the sky is a very pale blue that blocks everything in. It is made from a mixture of White and a very small amount of Blue. I reduce this mixture about 50% with the Wicked High Performance Reducer in the airbrush. One of the strengths of the airbrush is in the way that it so finely atomizes paint. This allows for extremely controlled and even application of paint. Perfect for all of the fades that are in this sky. The picture below shows that blue against the gray of the primer. I have removed the mask here to show the difference however during normal painting, I will leave the masking in place until the top section is finished. 

There are two colors that will establish the warmer areas of the sunset. First is a pale, warm yellow which is made of White and Detail Yellow Ochre. For the warmer color, I used the same pale yellow and add a small amount of Detail Burnt Orange. This orange will aid in the transition of into the darker blue above. This orange shift will also be echoed again where the sun will be as well.

From here the deeper blue of the night sky is added. Again, the strength of the airbrush here really shines. The method is to get a very even transition from a very transparent dark blue into the very warm area of the sun without having it turn green This is made up of Blue and a small mount of Black. This dark blue is very heavily reduced with the HP reducer and I have also added a small amount of Balancing Clear. This balancing clear improves the spray performance and also bolsters the surface strength of this fragile, over reduced color.

With the darker blue now established, I can start moving on to the clouds and sun. The glare from the sun will cover the clouds so I start with the clouds first. Using a similar warm yellow as the sky, I start blocking in the lighter base for the clouds.

Here is the painting with all of the light areas of the clouds in place.

Using the same warmer orange color as in the sky, the darker areas of the clouds are added in with the same paint brush technique. 

Finally the clouds are blended together with a color that is between the lighter and darker colors that were just used. After the sun is put in, I can adjust the overall tone and atmospheric perspective.

The main glare area of the sun is again a very pale yellow and again is applied with the airbrush. In order to get the best transition, I add a little of the balancing clear.

Now to echo the orange transition band that is in the upper part of the sky, A highly reduced Burnt Orange is carefully applied in the halo around the sun.

With that, the upper half of the painting is locked down. In the next blog post, I’ll get into the waves in the water. As always, thank you so much for reading along and please add comments an ask questions. That is what this is all about!




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