Path to the Meadow 10x13
The painting I'm bringing you today is called "Path to the Meadow." It's 10x13, and I finished it recently. I want to share my process for scaling up a smaller study to a larger format today—something many artists struggle with.
Path to the Meadow 10x13
I'm working on hardboard prepped with three coats of house paint tinted to "Deep Earth"—a slightly reddish tone that's perfect for my approach. For the underpainting, I'm using burnt umber, which is my standard when working with this base color. You can easily prep boards this way yourself. Just visit a paint store and get a tester pot in a color you like—no need to commit to gallons until you're sure!
The Scaling Challenge
I painted this scene about a month ago as a smaller study, and now I'm scaling it up for an upcoming project. I also found a beautiful antique oak frame at a thrift store, that was perfect for this size. One of the biggest challenges when scaling up is maintaining the freshness and spontaneity of the original while avoiding a stiff, cartoonish result. My solution is to use an "alternating reference technique." I started with my photo reference for the initial underpainting, then briefly consulted my smaller painting to guide certain compositional elements. After blocking in the main shapes, I returned to the photo reference for the color pass then finished by looking at the smaller painting again.
The principle I follow is "don't serve two masters." I primarily work from the photo but strategically reference my smaller painting when needed. It’s best to refer to one or the other while painting. Looking at both might end up confusing the creation process. You deffo want the new painting to become its own unique creation while maintaining the spirit of the original. Always a challenge!
If you want to see this process in real-time, check out the "Master's Area"—the members section on my YouTube channel. There, you'll find the full 3-hour studio session of this painting with plenty of tips and knowledge imparted while I paint. Also, I've also condensed 13-14 years of painting information into my book about the Tonalist painting process . When I first discovered Tonalism, there was almost nothing out there on the subject, so I had to teach myself. All that knowledge is now available for $60 US with international shipping included.
Building the Painting
After the sky, my process always includes laying in the darks first, using Mars black (which I prefer over Ivory black for its opacity) mixed with burnt umber. These darks serve as the foundation for everything else in the landscape. I don't worry about reinventing the wheel with my process. It's perfectly fine to use the same approach repeatedly—each scenes and its unique challenges provide plenty of variety.
What I really wanted to avoid was over-detailing, which often happens when scaling up. There was a feeling in the original study that I wanted to preserve, and I'm happy to say I succeeded. The larger version isn't identical—I made several improvements, like adding a second tree on the right—but it maintains the fresh, spontaneous quality I was after.
Both paintings only vaguely resemble the original photo reference because I always let the painting take me where it wants to go. That's easier to do with smaller paintings, but with larger ones, there's a tendency to overwork and stiffen up. Some artists use grid methods for scaling up, like Kevin McPherson's technique of drawing grid lines on plastic over the smaller painting. That's valid, but for me, it can become too mechanical. My alternating reference approach keeps things fresh while maintaining the essence of the original.
BTW, you maybe have noticed that the quality of my videos has improved dramatically—you'll deffo notice it in 4K resolution if you're in the members area. My new process also helps me capture excellent photos of my paintings while they're still fresh, rather than stacking them up to photograph later or like never!
Until next time, take care of yourself and stay out of trouble!
Cheers,
Mike