I began Drizzly Day knowing only that it would be based on a wetland with adjacent woods nearby. The time of year and weather would be determined later. The basic composition, with outcrop, shallow water, trees and shrubs, was established using only monochromatic values (on the cool side). As the first layer of paint dried, I tried to imagine what sort of day it (and I) wanted to evoke. Should the details of drawing be more important than color? I admit I fell in love with the cool non-color of the underpainting. Adding a few, subtle, green and bluish glazes settled the issue. The painting would remain mostly monochromatic, with a rainy day palette. That settled, I began to work defining the elements. The fog and mist slowly crept into the picture, then the refinements of tree boughs. I kept the glazes completely transparent, layering turquoise, violet, indigo, umbery green, and a faint iron oxide gold to warm a few areas. The scattering of dried and rust-colored pine needles provided a complement to the cooler tones.
Drizzly Day proceeded slowly. To preserve the sense of mystery I refrained as much as possible from delineating all the details. Paint, study the results for a few days, paint a little, step back and study again. I only wanted enough information to make the sense of place believable. The range of textures (often achieved be pressing paint into the surface with crumpled materials) had to be delicate, but true. I am pleased with the result – a painting that quietly speaks to the ordinary and extraordinary beauty of a simple rainy day. Enjoy. Details below.