DEMO - SUN LAKES, CA Sept 2009

I am using an 18x24" masonite panel, sanded, and covered with two coats of acrylic gesso randomly brushed on.  Use the kind of surface and size you prefer.
TONING THE CANVAS:
Toning is optional.  I toned this panel with a thin wash of Turpenoid and Yellow Ochre.  Allow the toning to dry before going on to the sketch.  This has passed a little beyond the underpainting stage, so remember that during the demo the underpainting looked much more like a poster with blocky patches of thin color.  The yellow flowers, especially, were laid on in broad directional strokes.
THE SKETCH:
The general composition can be sketched on the canvas with pencil, charcoal or paint.  Pencil and charcoal need to be sealed.  Paint is easy to rub out if you want to rearrange lines or masses, and has the advantage of organizing initial values in your composition.  I encourage you to sketch with paint, using a light warm color such as yellow ochre.

THE UNDERPAINTING - 1 hour maximum:
Gessoed panels are very absorbant, as opposed to canvas which is not absorbant.  If you are using a gessoed panel, add about 1 part oil to 3 parts turp for the underpainting.  If you are painting on canvas, use straight turp.

Thin the oil paint with turp to maple syrup consistency, approximating the colors in the finished painting.  The underpainting should be fast and spirited, with brushy casual marks that are somewhat transparent.  Avoid white except in the sky during the underpainting.  If values are too dark, wipe off some paint to allow light to pass through the paint and bounce off the canvas.  Although it is not necessary, I let the underpainting dry before proceding.

SECOND LAYER:  50/50 oil/turp in this layer.  Beginning with the second layer, paint gets applied more thickly. Allow the underpainting to peak through.  Adjust colors for harmony, values for punch, and develop the focal area. Contour the hills. You are creating the illusion of form, volume and atmosphere, so think about the character of the hills, trees and air.

During the August Demo I talked about scraping back:  If paint becomes too thick, scrape the offending area (or the whole canvas), or blot or wipe off the excess paint.  The result of scraping or blotting is mysterious and suggestive, offering you new avenues for the painting.