Starting with a drawing (1) that was unusually detailed, I worked hard on getting the ironwork of the bridge right in perspective. I planned to paint that iron first, and then carve out the shapes of the lit and shadowed background from it. The degree of complication of that process was what decided the very careful drawing. I really liked the counterpoint rhythm of the trunks and limbs of the trees.

Next (2) I put in the basic large masses, choosing to differentiate the foliage already in the underpainting stage, just so I could keep track of it.

In (3), all areas have gotten at least one layer of colour, and I worked on making the back row of trees seem further away than the front row. Taking a step or two back, it hit me that the limbs and trunks competed with the iron fence for attention, and decided I had to play them down in order to make the bridge and lamppost shine as the star of the show. As the foliage was pretty dense, that was easy to do.

Then I worked on shaping the forms and horizontal sense of distance, put in reflections in the water, some squiggles for fallen leaves, and was Finished once I'd added the fine lady in her red coat taking a stroll along the pathway between the trees. For some funny reason, nearly every viewer "remembers" the lady walking a dog. She might be, but the dog isn't painted into the picture.

This painting is entered in two contests. We'll learn soon if the die was cast in my favour or not. It is a lottery, as judges have such different ideals.

See a larger version of the painting here.