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Winter Sunset at Monterey Bay 8"x 16" Oil, gallery wrapped canvas- Finished It

Above is the "before" of this one.

This 2nd image is the "after", in process. (these are 2 new better photos)

I have worked in the hills & the foot of the hills where it meets the water in the background. So far I have only painted in 2 darkest values in the clouds in this new sky, my 3rd time trying Lol!, I think I got it this time! Lol! I love what is about to come on this & the quinacridone rose will be working its magic here too.
 I had still more paint left over from my color wheel exercise and the summer garden painting, so I thought to tie up another loose end, but I must move fairly quickly now 'cause it's near the end of this paint on my palette.   




  • @Forgiveness nice work and the tones and values really work well together
  • You achieved a beautiful light in this @Forgiveness
  • Thank you both so much for your kindness! I'm glad you like it. 👍😁

    I've been learning a lot from the "tonalists" from the beginners & more experienced and I have a tendency to head in this direction. I'm taking what I have been learning from them & try out in this piece. I have also been learning to be more selfish and bold with my painting. The new colors that I recently acquired are just awesome & so helpful on my palette.
  • edited December 2020

    Now the sky is painted in & I began work on the rocks in the foreground although not quite there, working toward bringing in more color harmony throughout. Everything under this light in this sky has these same colors reflected throughout the painting. My next step here is to redo the water area, as is these are not turbulent looking waters to appear like a winter sunset here & be consistent with the rest of the scene & my painting technique. Btw I did no blending here, but I did apply a little softening in some small areas.
  • Hi @Forgiveness i love the way this develops and improves so much. Do you use relatively stiff paint from the tube? I love to be able to see the brush strokes remaining so clearly. The sky color is wonderful. 
  • Thanks @JerryW glad you like it. The paint that I'm using here is moderately stiff, I also have another brand where the paint is quite stiff. This way of painting is expressive & much encouraged where I live, each brushstroke is carefully considered & simplified before touching it down on the canvas. Spatulas can be used instead of brushes here as well, I like the occasional use of putty knives. I often use flat brushes as I have in the green hills, filbert brushes were used for everything else in this painting. The stiff paint takes my painting experience to a new level for me that keeps me excited & interested. I'm also a sculptor, this strongly influences me in my painting as well.
  • edited December 2020

    This is the best photo i could get (such a challenge), so many fewer problems in it, one being less saturation of color(closer to real) & better control of glare. I hope this helps, Lol!
  • Vastly different from how I would do it - looks cool! I like the chunky blocks of colour.
  • edited January 2
    Thank you @Mio glad you like it, I really enjoyed painting it.
    I shifted in this one into "tonalism", "luminism tonalism" to be more specific, from simple realism. Even though this is realism, it is dominated by the tone that has been set for this scene. Tonalism alone would suggest rendering much softer edges and subdued light throughout the painting. Luminism tonalism suggests a dominant light source such as ie.: a mid day in full sunshine, bright sunlight coming through silhouetted trees and may or may not include softer edges. I've recently been quite inspired by the tonalists.
  • Are you in Monterey? Lovely exuberance. Fine Job!
  • edited January 2
    Thank you @KingstonFineArt that means a lot coming from you. This is from a visit to Monterey in 1984, and I took photos for reference & my memory still very strong.

    To finish this piece I used my new added colors to my palette that made a huge difference primarily in the sky, in the protruding rocks and in the highlights in the sea in the closest foreground.
     These colors are chrome yellow medium PY34, and quinacridone rose no. 311 PV19 (this provides such rich & dramatic oranges, pinks, peach, purples & violets). I now use 3 whites for greater effectiveness, lead white, titanium white, and occasionally minute amounts of Mussini titanium opaque white, a white that is so very bright & opaque that is has a "luminous" quality to it. For the chrome yellow med. I add a mix of lead white & titanium to the same value as cad. yellow pale for my primary.
     Also been learning more about effective color combinations for dramatic effects in oil painting.
     In the future, for my new primary red, I will be using a mix somewhat equal amounts of quinacridone rose PV19 with PR101 transparent brown iron oxide to achieve a similar depth in hue that comes from alizarin crimson PR83.
  • I really like this @Forgiveness. And I like the way you’re trying new ways of working. You really succeeded here! Great job.
  • Thanks so much for your kind words @HondoRW much appreciated. Glad you like it!
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