This is a painting of the center of Melbourne, it shows very clearly how large city buildings can be lost and found, just as easily as foliage. Parts of this picture are done with hard edges, while others are lost completely. This contrast keeps the viewers constantly on their toes. The painting has obviously begun on very wet paper, and David has then brought parts of the composition into focus as the paper dried. The trees on the water's edge have been put in with rich dry paint on a damp surface, while the reflections in the water are still in part wet-into-wet, again using the lost and found technique.
Windswept Landscape, Yarra Glen, 8 x 15" (20 x 38cm)
In this fresh, direct painting of the area around his home, David has used both techniques for lost and found, wet-into-wet and dry brush. Look at the various trees and you'll see that some of the crisp, hard edges at the top stand out against the sky, ivhile other edges softly blend into the background hills. Notice how David has used the untouched paper to add a note of excitement. The touches of hard calligraphy, too, have their part to play.
The preparatory drawing phase
This is the initial pencil drawing, and it is worth studying. The drawing is done without too much detail. The lines are produced cleanly, not allowing the pencil to smudge the paper, which might sully the washes later. The barge is a complicated subject, but only the main features are put in, leaving plenty of room for spontaneous brushwork later.
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