One Painting beginning to End, part III

In the last post of this three part blog we talked about using the grid and the importance of a color study.

When ready to paint my set-up is; have my original thumbnail value sketch on the wall infront of me, have the color study next to the painting. As the painting progresses they will become more important while the original subject becomes less.

Taping a piece of clear acetate over the study makes it easy to try out mixtures right on the little painting.

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Below is my palette for the study, yes I take a picture of it. The intention is to start the larger version right away but….the air conditioning breaks down in July, or unexpected guests come to stay….all kinds of things can happen, and I don’t want to rethink everything again.

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Notice how I hold the value groups together. This is how I think when painting, so my palette should reflect this. If there is chaos and discourse on the palette, so the painting follows. Note; on the larger painting, there will be three times this much paint, not different colors but the volume of it.

From left to right; Hansa Yellow, Yellow Ochre, Scarlet, White, Olive Green, Thalo Green, Ultramarine Blue, Alizarin, Burnt Sienna, Magenta, Black, and Oleopasto medium.

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The numbers signify the order of the areas painted. I start with the darkest darks, it’s easy to go too dark which makes the colors dull and unreadable. Mixtures of Thalo Green plus blue or yellow ochre applied with a palette knife.

After the darkest darks on to the lightest lights, the sunlit orange area. As in the other area not being too dark, this area shouldn’t be too light, or again I lose color identity. My question ; how dark can I go and still read as light, this has been answered in the study so I take my cue from there. So the key has been set for the painting, just like the highest and lowest note in a song. Everything will fit within the established boundaries of lightest and warmest area vs. the darkest coolest area.

The area #4 is easy, just compare it in temperature and value to the two neighboring areas. This is how I paint, relationships, sometimes there is an underpainting tone, but always about one area reacting to another.

Notice how the figure is established only after the background? Because this is the world she lives in, the air she breaths. So many times a painting suffers from “stuck on figure” syndrome. The figure is taken almost to completion than a background fills in around it without a lot of thought concerning the give and take between figure and background.

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This is what I call the “last look”. What can elevate this, what is taking away from the whole?. My written list of tasks is on the right. Sorry, it’s hard to read because I scratched through them as completed. Here’s what I wrote:

  • Greenery lower right in shadow – work some leaf shapes into the light, creating steps like in the study.
  • Three rocks, change shape and or color, too much unity.
  • Ankle crossing over, try taking out light bit.
  • Fill in grass lower edge, paint too thin.
  • Work warm greenery in sun, more foliage shape and description.
  • Green area above her head more warmth
  • Put pattern on dress

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And done.

 

One Painting Beginning to End, part II

In the previous post I explained how I begin a painting. Selecting a subject, manipulating and enhancing it, than finally using the dynamic symmetry grid.

When it comes to painting, usually I shy away from mechanical tools but I’ve found the grid to be flexible and very helpful.

Used by the Old Masters to the Impressionists, it’s like having an artist friend with a great eye for composition. 3crops.blog

Each space within the grid has a harmony within the whole and where multiple lines overlap “eyes” form which are prime places for important elements.

In the image above left (the one I ended up choosing), you can see how her left arm lines up, so does the top of her hat and the bottom of the tree foliage. Her straight foot ends at a line while her other leg followed the angle of another. Things can also be pushed and pulled to fall better. For instance I changed the angle of the shadow under the tree to conform more to the diagonal line of the grid.

The version in the center and right would have also worked, but with these,  more information would have to be added on the left side.

The next thing I like to do is create a small color study. Up until a few years ago this seemed like a waste of time to me. Why paint a miniature version of my painting?blog.colorstudy

I’ve since realized the terrific value in these little jewels. As artists we are not copying what we see but transforming it into our vision. This takes experimental thinking.

It can be very disheartening to scrape off large areas of your painting because it doesn’t harmonize or has the wrong value. Enough changing around of things on a large painting ends up looking forced and overworked, anything but fresh.

In the color study above I set the value range, decided the temperature extremes and began to get more excited when seeing my vision in paint.

When I paint the larger version there’s still lots of room to “try some things out”, but within an established frame work it’s much more fun!

 

One Painting beginning to End

OrangeTreeGirl.lr
All the Small Things by Diane Eugster

Instead of taking a piece of my painting process and blogging about it, though I’d take one painting from the start to finish.

It’s taken me many years to come up an order, a chain of events, a way to get my head in the right place to create something that feels good to me.

First comes the choice of subject. Below is what I’ll be working with. This is a very personal thing. The reason I chose this is it has several things I’m drawn to.

  • A sense of casual ease
  • Cool tones
  • Simplicity

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Now starts the problem solving . The first thing is evaluating the composition. There needs to be more space above her head, so what do I fill that space with? Going back to the original photo shoot, searching for a shot from this angle with more tree showing….bingo, found this photo.

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Time to take both photos into Photoshop for some reworking. There are several easy ways to do this which I won’t go into, but knowing your way around Photoshop is a handy skill to have.

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This is a little rough around the edges, you can see where I cloned some bushes to the lower right and have some hard edges at the top, but I can surely work with this in the painting. The balance of things is looking much better. The final test is to place the photo within a dynamic symmetry grid. If you’re not familiar with this, here’s one below.grid1.blog

  • The outside dimensions are the same as the painting.
  • Divided in half lengthwise and crosswise.
  • Divided diagonally from corner to corner.
  • Lines are projected from the corners which are 45 degrees to the diagonals.
  • Additional lines can be dropped where diagonals meet horizontals and verticals and horizontals cross verticals.
  • Wherever multiple lines cross there is an eye, a prime place for important information.

In the next post I show you what I’m looking for as I place her inside the grid.