I begin by laying in a wash
of cad yellow.
I start by wetting the area of sky with fresh clean water and begin working from light to dark dropping in an area
of cad yellow, which will just give an impression of sunlight reflecting on the leaves.
Once complete, I use a diluted wash
of cad yellow to begin under - painting the strawberries.
Not exact matches
Mix Magnese Blue with a touch
of Cad Red and
Cad Yellow to create a slightly green - blue for the shutters.
Using the same washes, I paint the outline
of the conifer in
cad yellow then add lighter and darker greens in a slightly broader fashion.
When I'm using the
cad yellow I'm careful to leave some white
of the paper in places.
I use thicker pigment from the
cad yellow and add a touch
of burnt sienna (hardly any) to take the blue out
of the green and begin to paint in the shadows I see on the leaves.
This is the same for the horizon: I drop in
cad yellow first, then the two greens using the broad «flat»
of the brush to show trees in the distance - I just indicate this with no detail.
Over the course
of a few pages in the 1964 — 1967 notebook, one can find sporadic checklists
of paints which read like a chemical lab
of forbidden substances: «Mars black, lemon
yellow, use muddy white... cobalt violet,
cad.