I'll be seeing a place, and in order to remember, I draw it. Sometimes I'll remember more about the place as I draw; sometimes I don't succeed in illustrating the landscape with precision -- but the characteristics of the initial experience are present, illustrated.
My outlines are the first draft, usually like knotted yarn, scrawling the page in pencil, indecipherable to any eyes but my own. From that first rendering, I usually give ample distance for refinements to my plan of approach with
more permanent mediums -- ink, acrylic, watercolor, pencil color.
However, in some cases, as in the DREAM OF AN ISLAND SURROUNDED BY PURPLE FLOWERS, I was compelled to go directly to the canvas without need for an outline, clearly enough was the image depth perspective and angles interpreted from dream experience.
From a pencil outline to a journal, and most times left to ferment, my process picks up where unfinished work presents itself in a somewhat haphazard, unpredictable manner.
When the shape of the painting is ready for color, I start with the lightest hues and bring the horizon and the technical details to a place where they are clear.
I bring in the landscape last and work around the high detail areas with the appropriate touches, and finish by merging the finest detail work of the initial approach with the overall feel of the environment or atmosphere of the rest of the painting.
Some pieces are completed sooner than others.