I’m working in the afternoon on Tumamoc Hill. It’s about 2:45 when I begin and 4:00 when I stop. It all feels pretty Orange at 2:45…to me.
During this time, the most noticeable change is not so much the direction of the shadows/highlights, but the saturation of the red-orange in the rocks. I decide to change the key from Orange to Red-Orange.
Palette: Red-Orange, with blue-green complement and blue and blue violet for a simple harmony.
I leave the Hill at this stage. At home, I begin adding tints to tone down all the rich color…and dig myself into a hole. Sometimes working on a plein air in the studio is not the solution to the problem…
…but this is! also know as “The Wipeout”.
I am determined to figure this out, having grown fond of that tree-ocotillo.
New approach: Go back to the scene to study a little more in-depth. I’m measuring and gathering texture in this line/ink sketch and looking, looking, looking, soaking it up with my eyeballs.
Using the “ghost” of the first picture, I am more careful and deliberate in this next attempt, yet maintain the color harmony with red-orange as key. I want to create a strong sense of the saturation of hue and quality of light at this time of day so I name the work after the key color and day and time of the creation/execution…(how can these two words mean the same thing?).
I have in mind to explore different times of day. Maybe I could make one every hour, like Monet did with the Haystacks and Chartres Cathedral. What a concept!