Reducing composition of a landscape to the bare essentials (e.g. earth and sky devoid of detail) allows for other elements to be explored more fully. The latter can even be exaggerated to make a point.
Endless Prairie is a simple, almost geometric, composition in which the complex color scheme of a landscape is demonstrated. The canvas ground was prepared with random blocks of thickly applied blues, oranges and grays in the sky area, and reds, blues, yellow, burnt sienna and black for the foreground land mass. Once this was dry, the skyline was marked with masking tape followed by a layer of titanium white mixed with tinges of ultramarine blue and the least bit of cadmium red applied with a knife. The acrylic was mixed with a dab of thickening gel to keep it from going on in a solid layer.
The tape was removed, the sky allowed to dry and the foreground was completed similarly -- a yellow, green and red mixed to give an earthy tone mixed with thickening gel and then dragged on in a mix of vertical and horizontal strokes. As this was drying, I scraped in a few places to reveal the brighter color underneath. After everything was dry, I applied a watery glaze of dioxazine violet to the sky and pthalocyanine green to the foreground. This helped to unify the painting.
Endless Prairie, Acrylic on stretched canvas, 16"x20", $150 Buy Now