![\"\"](\"https:\/\/blog.williamsonfineart.co.uk\/wp-content\/uploads\/2020\/12\/MB3.jpg\")
<\/a>The grassy area had been started with a bluey green which was at variance with\u00a0 all the other greens in the painting.\u00a0 As I wanted, by this time to cover the paper well, I pushed some warmer greens in on top of the blue, the two blending to give a warm dark.\u00a0 The line between the shadow and sunlight on the grass was too definite.\u00a0 Again, very thin wavy lines suggesting long seed stalks softened it.<\/p>\nStrong patches of dark greens, strategically\u00a0 placed, began the bending of the tree.\u00a0 These had leaf like marks both on them and falling from the edge, giving variety of shape and contrast.<\/p>\n
I was a bit unhappy about the line of sunlight straight across the page so I inserted a fictional plant.\u00a0 I think it makes for a better composition.<\/p>\n
One of the advantages of a demonstration painting taken over two or three weeks is that the enforced separation of painting periods allows for quiet contemplation of progress or its opposite. I was able to see the square tree mentioned last time but also how little grace my tree had compared with the original.\u00a0 There … Continue reading “Monte Bianchi 3”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/1488"}],"collection":[{"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1488"}],"version-history":[{"count":5,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/1488\/revisions"}],"predecessor-version":[{"id":1495,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/1488\/revisions\/1495"}],"wp:attachment":[{"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.williamsonfineart.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>I agree that this introduces a diagonal, but this one has a purpose, and is blocked by the bush so that the eye is directed into the painting.\u00a0 Similarly, the shadow of the trunk also directs the eye towards the door.\u00a0 The original diagonal in the photo did no more than cut off the right hand\u00a0 corner of the picture.<\/p>\n","protected":false},"excerpt":{"rendered":"