By observing the development of the top right hand shape or form, you can see how I am adjusting the composition. I have placed the image from my work yesterday above and some previous versions below. From last week to this week ,this form has gradually shrunk and then moved to the edge. The main hanging form has also shrunk to the left and become more resolved. The fire which began as a few strokes of white paint has moved to the left and become larger. If I can sort most of the composition out now then it will be less work for me later.

I’m also thinking a lot about tone at this stage and how it impacts the overall composition. For example I have darkened the bottom left hand corner so as to get the observing eye (being directed down by the strong verticals on the left) to swing from the left bottom corner back to the fire. In turn, the central hanging form catches the eye leads it up and to the left, where it is directed down by the trees. A little visual loop which will be joined by a loop through the figure later. The form on the upper right echoes the central form and directs out of that rectangular shape of the background landscape back into the painting, it is getting close but may not be fully resolved until the figure and background are painted.

A quick note that the figure is hovering over a river, now with one foot splashing in the water. The fire also sits on the water. The forms in the air are taken from drying tents that are hanging. I’ll write more about my inspiration soon.

The river is being painted mainly in transparent glazes, using medium, while the upper foliage and sky is being painted with mainly opaque paint and less medium. All the rest is  mix of both approaches. Some parts of the edge of the river are reminding me of the work of Paul Cézanne, of who I am big fan. Although interesting to see this quotation appear it was not intended and is probably a direct result of the big brush strokes and technique that I am using at this stage.