continuing on with this current painting i picked up my #10 round kolinski sable brush and mixed up a puddle of fairly neutral gray using cerulean blue, yellow ocher, and carmine. my new strategy with the horse was going to be to put in the shadows and modelling first before i did any other color characteristics. working from front to rear i put in swatches of color where the shadows were on the reference material and then charged in one of the pigments that comprised the original mix just for variation. this at times yielded the cool blue you see or the warmer yellow or red tints. the strip of ground that gave the tie-in with the horse's head/snout bothered me as it seemed to be at odds with the stronger strip of distant hills. so, i lifted that out using a synthetic 3/4" flat brush and tissue blotting. since this was actually comprised of predominantly quinacridone gold rather than the burnt sienna as erroneously reported in the last posting, it stained somewhat. it will be able to be covered at least once i decide what i want to do with the background. some of the horses legs are rather dark black so i added them in using the same brush and a combination of ultramarine blue and burnt sienna. i may have added in a bit of ivory black from time to time.
at this point i decided to stop painting for this session and take stock of where we were. i like the painting part at this stage but i am regretting that the horses legs/hooves are missing off the bottom edge. i am happy that i avoided trying to cram them in and maintained the overall scale of reference, but still..... i don't think this is fatal flaw (as the aforementioned "cramming" definitely would have been) but something to file away for future paintings of this type. better overall planning early in the drawing phase would correct this.
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