This is a more concerted effort to get closer to the tonalist sort of ideal. The big thing here was to work on blending – or more to the point, getting to the next level with blending technique. With this landscape painting, I think I’ve taken the next step.

The clouds and sky have a particularly integrated quality that I’m really digging. That might be again due to the new set of brushes whose bristles are more fine.

The intriguing aspect for me is there’s an area where the land meets the sky about on-third from the right that’s particularly intriguing to me. I think just with the small amount of blending there, it shows that it’s beyond possible but necessary to blend the landscape painting’s foreground to background.