They are on the “Garibaldi Pier” equipped with equipment up to capacity. I have toolboxes and everything in my car. The easel, the colors, the solvents (including the oil) and the respective cups, the brushes, the spatulas, the rags, the pencils, colored pens, charcoals, cutter, cord to tie the easel on windy days, sandpaper, cards phone to scrape fresh paint that I do not like.
I also have a digital camera. I take a picture of the landscape to paint and I already get an idea of the composition.
I realize that, globally, it is up to one third in the sky, one third to the earth and one third to the sea.
I never wanted to get used to painting on a white canvas, so I take the acrylic base colors (fast drying) and cover its whiteness.
The acrylic colors I use to do this are magenta, yellow and blue. Since the blue and magenta are dark enough, I lighten them with a pinch of white.
These three colors and my eyes are also enriched by their complementary (laws of color theory).
At this point it is no longer the white of the canvas that dominates my choices, but three very important basic colors. These colors, with the various drafts, are destined to disappear, but layer by layer, they will be useful in choosing a more balanced chromatism.
If then these large spots of color bother you to perform you can choose to paint on a homogeneously colored surface, which will always be better than the white canvas.
Preventive colors: For now I’m not interested in the colors of the landscape that appears before my eyes. Even if I were and spread them directly on the canvas I would be deceived, because this is not yet a sketchy and coloristically balanced canvas.
Use acrylics as preventive colors: white, ultramarine blue (can be any other blue), black, cadmium red and yellow.
Rationality: from now on, but only for a few steps I have to use my rationality. I’m thinking for a balanced composition of shapes and a right perspective, and therefore, I ask myself many questions about the behavior of these in the various plans.