Experimenting with transparent layers in the underpainting. Using the natural sineas and umbers and orches for the warm tones and prussain and ultramarine blue for the cooler tones, with a hint of violet. Keeping the energy and movement of the landscape present- evident in the brushwork and transparent overlaying. Limited palette unites the works. Having a more complex underpainting will give the work more depth and interest- hold the viewer. Gives me time to establish the composition and lights and darks. Repetition of the triangular formation creates some harmony within the works. Some areas of more pure colour help lead the eye. Do the paintings have quite a wet and rainy feel to them atm? Still lose the reflection line so the painting is not divided up- does not dominate. I might place these paintings inbetween the pervious set of three.