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Art in the Making Under the Ginkgo tree
The Following article appeared in the International Artist Magazine, August/Sept 2009 Edition...
	Stage 1 This first section will establish the tonal range for the whole painting.  It shows the deepest, darkest part of the woodland canopy, leaves that have both shadow and illumination, through to pure white bursts of light.  I need to get this right before I move on.
Stage 2 - detail Here we can see the contrast of areas made up of varying layers of under painting.  From the dense depth of background to more subtle layers on the leaf, emulating light saturation, through to single applications of paint to show luminosity.
	Stage 3 The sunbursts through the canopy here give colour balance and start to add character and interest to the painting.  These abstracted elements of the background are, for me, one of the most appealing features of this composition.
Stage 4 Constant assessment is needed to ensure that the tonal balance and light values are creating the feel I want.  The leaf on the right brings the foreground back into focus.  This, added to the density of the canopy in the background, enhances the sense of distance.
	Stage 5 The appearance of the branch creates an important anchor point in terms of colour values, context, and three dimensional elements.  The strength and contrast of the colours in the branch help to register all of these key components.
Stage 6 - detail The specific colours used for the branch are blended mainly on the canvas.  The complexity of the nodules, twists and turns of the branch, and the changing light along it, work favourably with this method.  The selective use of Lemon Yellow, Ultramarine, and Violet, respectively, brings warmth and sunlight to the branch.
	Stage 7 The dimensional qualities are in fine balance here.  I have to be careful, it’s tempting to accentuate areas of the canopy by making them darker – but this would take away the misty, dreamlike quality that helps give the illusion of distance.
Stage 8 - detail The subtle jewels of colour included in the white patches of the background reflect the spectrum of different aspects of the refracted light that dances amongst the canopy.

Stage 9 The finished painting. This final stage mainly consists of consideration, contemplation, and assessment, making fine adjustments where necessary.  Here, Sap Green washes are applied in selected areas to add a yellow-green zing to certain aspects of the background.  This adds the richness and depth I desire.
	What the Artist Used Support 91.5cm x 71cm stretched and primed canvas Brushes Size  ½, 4, 6, 10, 12 flat Size 6 round Other materials As a working palette I utilise an ice-cube tray, which I seal in an air tight container between painting sessions to prevent drying out. *
Artists' quality acrylics
Sap Green Oxide of Chromium Green Hookers Green Leaf Green Cadmium Yellow Lemon Yellow Ultramarine		Sky Blue Titanium White Burnt Umber Burnt Sienna Crimson Deep Violet
You can read more of my article here: Chasing disappearing shapes