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In the other painting the idea is to exploit that fact and *start* with a high chroma not very mixed blockin, done not too accurately. *Then* when you come back in to move things by painting into paint there (or change the color, or shape, or edges) you drop chroma.
That why if you look at the sky, there's chunks of red, because I had to change the shape of the bushes, and I only had some reddish-blue from doing some other shadows. Or how the bushes seem to fit into the sky because I had to paint into the sky with green and yellow.pic.twitter.com/fuVJLzgdPg
This painting was a total of about 30 minutes, but if I kept working it and altering it and refining it eventually it would become not as intense and have more refined details mostly on accident. In other painting styles if you kept working the painting you'd destroy it.
The other hack to this style of painting is the exploitation of optical mixing. Optical mixing is where I make something seem like it's mixed in the paint by just putting the two colors next to each other and letting the optics of your eye (and brain's perception) mix it.pic.twitter.com/x0xjgZMUJ4
So if you take this still of the painting (shrunk down) the bushes look like they don't have really red in them, but are just dull green, and you can't really see any orange. They "read" as green bushes that are not crazy green.pic.twitter.com/jI1m4wTEhN
But if I zoom in close you can see that there is very pure yellow and red right next to the green, even straight orange. Up close, it has an abstract quality. Far away these color textures mix together optically before hitting your eye and create a scintillation effect.pic.twitter.com/hPiCMQoSSC
This is what Van Gogh was doing, and it's also why photos of his paintings (and Monet's) are not very good. Cameras don't have a brain that interprets optical mixing so it doesn't show it as well, but if you walked up close to this painting you'd see he does it.pic.twitter.com/OqmKaEP93k
I'll do a better actual process demo tomorrow, but that's the "theory" behind the Russian Impressionism style. It's exploiting things about paint that normally cause people problems but in this style make for very interesting energetic paintings full of color and abstraction.
Ehem...assuming you can actually do it. Since it is using some common mistakes to make a painting sometimes you go too far and then end up actually just making a painting that's a muddy horrible mess that makes no sense. But, that's why the palette knife is for. Scrape it!
Final point: With all impressionist art you have to look at them from two distances: 1. Far away and they "snap" together and look real with a glow and movement to them. It sometimes hurts people's eyes. 2. Up close and it looks abstract and interesting. Stand back and look:pic.twitter.com/Ft5qZqoHNQ
Addendum: I almost forgot 1 tiny point that helps this style work: One "rule" you do follow is to remove texture from the dark passages. If you have texture in shadows then they look like they aren't shadows because they have "volume", so you knife them down periodically.pic.twitter.com/38Hrl8XDuR
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