The Disaster

There were a number of problems with my first attempt at the “Counter Weight” painting. All most all of them had to do with composition. Three major compositional problems. First the support panel half way up the draw bridge tower brings the eye to a full stop. Second, the girders connecting to the tower lead the eye out the the picture. Third, the dark girder on the left hand side want to be the center of interest.

In addition to the my composition problems, I used French Ultramarine in my final pour. It covered everything underneath causing dead patches in the painting.

Playing with the values did not help. I went from bad to worse. Where I attempted to removed the French Ultramarine I got mud. Darkening the background only made it look dirty.

So, I began again at the very beginning, with a value sketch. This time I moved in above the support panel, centering interest on the counter-weight. I eliminated the girders from my drawing. I’m sure the bridge would fall down without them, but my painting won’t. And I won’t lose the feeling of looking up into that great big counter-weight hanging over your head.

Then I began again. In a few minutes I will post Counter-Weight IA: A Pouring Demonstration. Since I have finished the painting to my satisfaction, I know there will be Counter Weight II: A Pouring Demonstration.

The problem began with the composition itself. Here is the photograph I began with:

Working Photo

I began by making a line drawing of the bridge and transferring it to watercolor paper. What I should have done first was made a preliminary value sketch.

Cartoon For Painting

Then I became beguiled by the lovely colors produced by pouring it.

After the First Pour

After the Second Pour

After the Mask Came Off

There were beautiful colors there after the pouring was done, but the darks were much to heavy. Lightening the darkes only muddied them. And the compositional flaws became more apparent as I worked. In the end I gave up in disgust.