After the full-spectrum tonal study it is time to introduce the local or native colors into the mix. Surprisingly, this happens quite quickly, as all of the groundwork has been laid.
Say goodbye to the strange-looking colors that previously dominated the scene. In the coming days everything will begin to appear lush and vividly convincing...now that I am into the natural hues superimposed over the full-spectrum tonal study.
In a matter of a just a few more days, I can now say with confidence that all of the detail and colors will be coalescing to create a startling illusion of reality, albeit on a fairly gigantic scale.
You can now plainly see how the figures are really starting to pop three dimensionally out of the background. But with no trickery beyond the judicious use of contrast and field of depth techniques. For example, all of the layers are applied with careful consideration so as NOT to create lumps and bumps in the paint. I do not subscribe to the idea of plastering on a thickness of paint that lamely imitates a low-relief effect. For me, the surface of the finished painting remains relatively smooth. I am a purist in that way and always have been.
Introducing the actual colors that signify the various companies that ran the parade of grain elevators in the heyday of Young, SK.