My approach to painting mist can be broken down into two critical components?the colors I choose for the sky and a traditional wet-into-wet painting technique.
Peaceful Sunrise (oil, 20×30)
To get the right look for my misty skies, I usually begin with a mixture of white and raw umber combined with a touch of a third color, often cobalt blue, cobalt green or cobalt violet. I apply this combination with a bristle brush, which I dip first into cold-pressed linseed oil, then into the paint mixture. I use a thick application of paint, following the weave of the canvas and continually picking up more paint on my brush to ensure an even application. Then, I turn to soft sable brushes to blend away all traces of my brushstrokes and create a uniform look. Next, with the paint still wet, I to add my most-distant elements using a slightly darker variation of my sky color.
Upper Hudson Morning (oil, 24×30)
In some cases, elements may move from the distance to the foreground. When that happens, I paint the misty portions of the elements wet-into-wet, then wait until the paint dries and continue developing the element toward the foreground.
Audrey Romano studied art at Russell Sage College in Troy, New York, then broadened her knowledge under the tutelage of Gunter Korus. Her work has appeared in a number of national and regional juried exhibitions, and has racked up a number of awards. In addition, her landscapes can be found in many private and corporate collections. Based in Clifton Park, New York, where she maintains a studio in the Rome Center Galleries, Romano is a member of several art-related organizations, including the Cooperstown Art Association and the Saratoga Arts Council. She?s represented by Day Six Gallery in North Adams, Massachusetts.