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Title : A Snow Pile Behind the Supermarket
link : A Snow Pile Behind the Supermarket

A Snow Pile Behind the Supermarket

There's a big snow pile behind the supermarket, with a view down John M. Clark Road in Kingston. The sun is rim-lighting the white snow, and the shadows are blue.

I like this view because it includes the deep perspective of the road going back to the vanishing point.

(Link to video on Facebook)

Here are some questions on Instagram and Facebook:

 Noa Katzir asks: "Wow! how do you keep the water and colors from crystallizing and freezing?"
Luckily it was nearly 50 degrees Fahrenheit, so well above freezing.

M. Hopper asks: "Mr. Gurney, how do you choose what you're going to paint?

All my supermarket parking lot sketches are done under a strict time constraint of about 50 minutes. That's the time it takes my wife to do the food run. I look for a subject that I can accomplish in that time, and one that matches the visual ideas I want to explore. So for the last one it was smoggy atmosphere. This time it was the light on snow. 

SpaceLion asks: "What kind of sketchbook did you use?"
Gurney: It's a Pentalic Aqua Journal, which has good paper for water media.

ValeoftheRose asks: "In Color and Light you say it's better to mix grays using only opposite colors rather than black and white, but that just makes brown. By grays did you just mean browns or is it because I'm using only CMYK and white of low quality gouache? I think you mentioned in the book CMYK is not great for painting?"
There are a lot of different issues raised by your questions. The colors packaged as CMYK in paints are usually convenience mixtures, usually made up of a couple different pigments. They can be helpful for painting color wheels, but for actual paintings I think you're better off just using those colors individually and getting to know them, because in painting we're always grounded to physical materials.  In this case I used ultramarine blue, lemon yellow, and terra rosa, plus titanium white.

Grays and browns are both fairly neutral in chroma, but browns are usually warmer. The reason for mixing grays out of complements instead of black and white is that you end up with interesting variations and partial mixtures, and you can get exactly the gray or brown you want. Grays mixed with two or three primaries have interesting natural variations. For mixing grays or browns you can use almost any ingredient colors to arrive at a given color note.

Charley Parker says:  "One thought: speeding through the drawing and wash phases with time lapse doesn't leave that much out, but It might be helpful if you would slow down to normal speed for things like the split-bristle brushwork — a less common technique — to give a better idea of how it's done."
Good point, Charley. I'm limited here by the 1-minute constraint of the video for Instagram. But I'll be doing a somewhat longer version that includes this one for YouTube, and I can slow this down a bit to show more of that split brush technique.

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