Work in Progress

 

After the wet underpainting (with water) completely dried, I began applying the over-painting.  This process may involve one layer or several layers of different pigments.  In pastels, I usually work top to bottom, background to foreground.  One good reason for this is because pastels tend to drop dust as you apply them to the surface.  There's nothing like a mess of dust on top of an area of the painting you painted just right.  Especially with the dust of darker colors falling on top of lighter areas. 

 

Side Note:  When working in pastels, it is always best to use an easel.  Preferably one that allows you to adjust your painting at a 90 degree angle.  This way the dust just falls straight down and doesn't accumulate as much on your work.  If you work on a tabletop, you are going to run into problems with the excess pigment (dust) building up on the surface of your work.  That's when pastels can get discouraging. 

 

Image 1:  Here I applied pastel to the sky and background.  I also went ahead and put a quick layer of pastel on the skies reflection on the water.  Luminosity has been created by fragmenting three very light colors.

 

Next, I worked in the middle-ground.  Here is where I am using some of the underpainting by not covering it entirely, leaving areas exposed.

 

This is the area of interest or focal point.  Edges are kept harder to hold the viewers attention.

 

Image 2:  I added the shoreline, trees, and some reflections on the water.  Areas where my shadows were too dark, I lightened.  Areas where my shadows were too light, I darkened.  Again, when adding trees---start with the trees in the back and work your way forward. 

 

 

 

 

 

 

Once I created the middle-ground, I then create the foreground.  This is the area right up front.  Since the foreground is not a main focus of the painting, I created it with a looser approach. 

 

Image 3:  Here I added a light and darker green to interpret the green algae water where the sunlight hits.  The reds and pinks give the impression of dead leaves on the waters surface.

 

 

 

 

 

 

 

 

 

 

 

 

Unhappy with the green stripe I made across the bottom, I decided to make some alterations.  To me the green looks sudden and out of place---having no relation with the other colors in the painting and stealing some attention from my focal point.

 

Image 4:  Here is what I've done.  By adding brown, I've coordinated it with the reflections on the other side of the painting.  Since the reflections of the large trees continue down the painting, I am able to get away with it.  And where the sky reflects, I went ahead and pulled that down as well.  No more green slime keeping you from stepping into the painting. 

 

Near complete, I will now need to add finishing touches or decide on any last minute changes.