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All the lush greens and blues of the mid-summer south are transformed into yellows and oranges and browns and burnt ochres, evoking a dusty autumn feel without just tinting everything sepia.
It's used by design in Barry, naturalistically in Kieslowski's Three Colors trilogy, Intolerance used revolutionary monochromatic tinting to separate out its timelines, while Hero is probably the most iconic and readily accessible example of this over and over and in every different way.
So here I'm just tinting the canvas to give me something to work out of.
The main light source in this painting is a cool overcast, so tinting the canvas slightly warm will help some of those neutral cools punch out just a bit more.