The story that motivated me to paint "Streamside" was the dynamic lines and motion of the water which were in
direct contrast to the rigidity of the rocks. The water was moving at different rates of speed throughout the
painting, pooling in quiet areas while swirling and crashing into white water eddies in other sections. This was
the challenge. I learned through observation that the shallow moving water allowed the rocky stream bottom to
radiate warm colors, while the cool green surrounding foliage reflected as well. The more shallow and swift the
water, the softer the edges of the rock bottom became. Sharper rock edges are in deeper, still water, as well
as the tumbled rocks above the stream level. The contrasts between warm and cool, soft and hard, movement
and static areas, made this an intriguing painting.
"Streamside" was developed with a "Golden Section" - rule of thirds - composition. The diagonal angles of the
dead logs and rock falls lead the eye to the white water splash and the very dark rock shadow. Keeping that in
mind as the focal point, I began to work the edges of the painting establishing the darks, creating a visual
path around and leading to the splash. These darks being very cool needed a warm balance and I wanted to
keep 1/3 of the painting warm. This was done with the warm light source starting at the upper right corner and
spilling onto certain rock surfaces and water areas across the painting.
"Streamside" was painted on grey Ampersand Board using a variety of soft pastels. The lay out was blocked in
with cool, dark purple for the foliage and river rock formations, while the water areas were established with a
very light warm sienna. This was done primarily with Rembrandt half sticks. The under painting was treated
with a 99% alcohol solution and a soft round brush to affix the pastel into a value wash and to establish the
cool and warm areas. As the painting progressed, I used a variety of pastels, moving from the harder Nu
Pastel onto Schmincke, Sennellier and Terry Ludwig darks, For softer edges I used several color shapers. No
spray fixative was used and the painting was framed directly with no mat.
The Art of Carole Haslock