An abstract shape as a starting point is a good way into a painting: I have a composition and design that shapes the narrative, is dynamic, and frees me from the restrictions of realism before I’m ready to tackle it. The bonds of purely realistic painting chafe me a bit. This may be just a personal preference on my part, based on my own limitations. And why not embrace my own limitations when they offer themselves up so generously (and often)?

As things progressed, however, the crow looked like it was plastered on top of the white space at the lower left rather than occupying space in the air, with a strip of unrealistic white keeping it away it from the bears.

As an experiment I scumbled in a burnt sienna wash around it and, voila, the bird flew into the foreground. Reality can be useful, judiciously applied.

I did, however, lose the zig-zag in the design. I will try to get that back.
Also, you will note, I performed a head transplant on the bear cub. Much better!

From there I began to imagine rocks sliding down a slope, and with the random patterns in the scumble those were easy to see and enhance. When it got too prominant I pushed it back with grayed down pinks, ochre yellows, lavenders. A snowfield began to emerge behind the bears, with highlights glinting here and there. I opened a jar of thick gel medium (I’m painting in acrylic) and mixed it in for fun with peaks and blobs. I brightened up the blue lupines. I called it a day.

Now I have turned the painting to the wall to let it ferment a little. I’ll come back to it in a day or so with fresh eyes and see where it wants to go.