This didn't just happen over night.
One can see I've added the sky, and the light and shadow patterns of the Karst Formations in the background, as well as the light on the rice paddys in the middle ground.
There was a dance of "push-pull" light to dark, defining, simplifying, glazing to warm up, or cool down, intensify, or gray down.
I could walk to the back of my studio (Approximately 20 feet away) while developing the painting. This helped me to see it come together. I also used a reduction glass, (a convex magnifying glass), which enabled me to move only a few feet away, look through it and see the entire picture as a whole.
During the process of the painting, I wanted to maintain an effect of light; the light source coming from right to left across the landscape, and keep it consistent on the aircraft.
The Landscape was definitely a challenge, however once it was near completion, the attention would turn to the most obvious element of the painting; the aircraft.
However, it would stay in this present condition for another couple of months. I was dealing with a lack of flow in the Art Market, rough seas in my marriage, my car breaking down, etc; all the required ingredients for a bad country western song.
Then one day I decided I was tired of feeling incomplete with the painting. I gave myself four months to finish it, and get it out of my studio. Finally, I got to work and started the process of painting the aircraft.
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