They are on the “Garibaldi Pier” equipped with equipment up to capacity.

I have toolboxes and everything in my car. The easel, the colors, the solvents (including the oil) and the respective cups, the brushes, the spatulas, the rags, the pencils, colored pens, charcoals, cutter, cord to tie the easel on windy days, sandpaper, cards phone to scrape fresh paint that I do not like. I also have a digital camera. I take a picture of the landscape to paint and I already get an idea of ​​the composition. I realize that, globally, it is up to one third in the sky, one third to the earth and one third to the sea. I never wanted to get used to painting on a white canvas, so I take the acrylic base colors (fast drying) and cover its whiteness.

The land of roads, vineyards, fields, mountains, paths always presents different colors and shades.

 
Depending on the nature of the terrain, the season, the weather conditions. Despite all these variations, there are some common aspects that we will talk about here. The color of the land is usually very dark in the fields that are normally cultivated, a little lighter in the uncultivated and abandoned areas, and further clearer on the dirt roads, on the country paths and lanes. The reason, of course, is very obvious: the earth that is normally cultivated is a fresh and loose earth, containing clods of different sizes, frequently dampened by irrigation systems, and which due to its structural composition, creates shadows and presents itself with quite tones dark. The terrain of the paths and paths, is dry, beaten, smooth in many parts, reflects more the rays of the sun, and is therefore of a lighter shade.

The ideal pigments to paint the damp soil are the land of Siena, the reds, the carmine, while to paint the earth of the paths and paths, which is more yellow in the parts exposed to the sun and more tending to the gray tones in the shaded parts , we need the blues and the garances (let’s call them “red”) dark.

Painting flowers: for the realization of a vase of flowers in a microscopic support, regardless of the difficulty, the usual laws of color, space and plasticity must be respected, just as they are respected for the realization of a painting of normal size. What matters is the color balance, especially with regard to the chiaroscuro play. A constant in painting flowers is to leave, as regards the area of ​​flowers, very dark and diversified colors, overlapping later the flowers, leaves and their stems. In painting flowers, as in any other painting realization, importance must also be given to the balancing of the masses. Suppose we start from the background. First we decide the direction of the light, then we light up our flower vase from the left to the right.