La porte

Cassis

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Well, finally I think the best initial color for the houses here (Marseille and around) is ochre, but I do not know yet, which is a complementary to it. Do not want to go back to violet. The shadows on this picture are done by mix of violet and green.
It is still cold here for morning outdoor paintings... good news is that up to 11am there is not much tourist in Cassis during such weather. There are also a lot of very useful wood benches in Cassis.

Street in Marseille

Marseille

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Here I found out that I like a lot yellow-blue tandem, much more, it seems, but we'll see later, than orange-violet.

Black house

Cassis

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Green Bush

Cassis 

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Black window

Cassis

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Cassis is a nice town at the see shore with old houses and pretty old streets. The only problem - crowds of tourists... 

Blossom tree

Marseille

Baobab

Marseille

Window

Marseille

 Pin tree in Callangues

Marseille

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 Callangues

Marseille

Snow day in Marseille

 

Some snow near Marseille

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Mountain 

(was with snow in reality)

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House and Trees

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 House and Trees again

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Well, even do not know how to comment. I actually do not really like this both these pictures, because I tried something new and feel like it could be better. OK, so the new think is 
1. that I find out how easy colors exclude one another on the wet paper, even distant ones. Here, for example, initial color was red and then, easily blue tree was painted without any trouble and even more, colors excude one another in a nice way, not like when the paper is already dry and you are trying to put blue on red and to make the peace of paper blue - never works on dry paper, but works perfectly well on the wet one.
2. And I learn also that one can put all colors without precision on wet pater and then when the real element like the wall of the house is painted it is sufficient to cover the paper dry now with one transparent layer of one color. The colors that ware put on the paper before will be visible as well. It gives such kind of not the same color.

 

Short tunnel 

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Since long time I am quite attracted by orange lights in the dark streets. Their light seems to me magic and breathtaking, but I do not know how to spread this feeling on the paper. Yesterday I observed the yellow street light surrounded by tree brushes. Leaves were yellow near the light and darker and darker as the distance from light increases. It was totally dark otherwise. How to paint that?

Tree near Rouviere

Marseille

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Today I learned how it feels to make an image not on the white background. Feels good! So to do this image first the biggest part of it was covered by light yellow-orange color still visible on the tree branches, and resting part of the image, a smaller one, was covered by a blue color. Then the story begins. It is really just makes feel good to put green-blue-violote-brown colors on the yellow-orange background. The color lies soft, profound and retain very good at the place where it was put. It also pleasant to put transparent violete-blue on light blue.

Zoom

Alpes 2009

Here is many pictures I did during my stay in Valley of Charmonie in the very exiting place called les Houches. At that time I were trying to make pictures looks like originals. I also did not realy care, at least at the begginig, about how many times the color is applied and were felling free to put dark green over bright one, and if the effect was not strong to add some more green, and then if the situation is too bad then add some very very dark green. It seems at the end of my stay I somehow get the idea of non mixing of colors on the paper. Pictures are inverted in chronological order, more or less, earlier are on the top.

View from my window

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View from my window - just another day

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And another day

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Cloud

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 Mountain chains

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 Aiguille du Midi

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 Green Mountain - last picture

Rock in Suggiton

Marseille, about two-three years ago

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I was already trying the technique where color is put only on the white paper several years ago. 'Rock in Suggiton' is and representative example from that times. In opposite to what I do now ( 'Sunday', 'Actress tomb') at those days I did care about the borders between color patches. I did not leave white spaces in between them. Quite a work, one need to think twice (well, actually more then twice) before painting a picture, actually as far as I remember the one above is a successful try of several ones. So I painted many times the same picture in order to calculate explicitly where which color will be. So it is not really a free single attempt paining style, but rather programed calculation established over several repetitions. Still nice, however.

Hills behind R.

Marseille.

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Here is a mix of dry and wet. Actually i was fed up with painting all these houses in the bottom of the hills, so then I just put a lot of some grey-brown water on the bottom and add several drops of intense green while it was still wet. 

Sunday. 

Marseille.

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The task of the day was to paint a picture in a way that the color is put ONLY on the white paper, thus once the color is put, no way back is possible.Thus is quite a trick because I have to be precise from the first try. And the other trouble is small white spases in between patches of color that is not obvious to paint, simply technically, because they are very small. Ok, anyway this methods makes the picture light and transparent. It gives freshness.

Electric Tower on the rock.

Marseille

Red Sun. View from my balcony.

Marseille

Port de Pointe Rouge. 

Marseille

 Actress Tomb
Marseille

Actress Tomb and rock
Marseille

Callanques. Stone
Marseille

 

 

Ginest. Soir.
Marseille

Green behind la res. Rouviere

Green behind la Rouviere.

Marseille

First entry

 

behind la Rouviere. Sunset

Marseille