I designed the painting with that s-curve in mind, editing the arrangement of trees, rooftops and the sea to support the idea of leading the eye from front to back, then around again into the painting.
I used a new-to-me surface, a pre-gessoed board. The gesso is super-smooth and I debated finding some sandpaper to give it a little tooth, but opted against. The surface responds very differently to the brush, with paint sliding around and lifting off with pressure from the brush. I adapted by using more paint, applied with a very light touch, almost as if laying it atop itself with a palette knife. The result is a gooey, gushy paint surface which I like.
Here are some photos of the painting in process. You can see how I moved some rooftops around from my original block in to support the s-curve.
|Proof of plein air - a curious fly|
|Turn the canvas upside down sometimes for a fresh perspective.|