Just finished the under painting for a new landscape commission. I love this part!
Bit by bit I’m moving along on this painting. I’m loving it, but my little one has decided naps are for chumps so I’m not getting to work on it much. That’s ok. Next week she starts pre-school so I’m trying to soak up every sweet, frustrating, fun, non-work productive, bonding, silly, frivolous, educational, and mundane moment with her. I have the rest of my life to work. Here and there, though, I have made some progress on it.
Last post I showed you my rub-out underpainting:
Now for the fun part- color! Here’s what I’ve done so far, plus a couple of detail shots.
Don’t you love skin tones? Look at all the colors in there- greens, pinks, violets- and I can promise you there’s not a bit of pre-mixed “Caucasian Flesh Tone” on my palette. Where would be the fun in that?
Last post I showed you this value study I did in preparation for my next painting-
Now I’m ready to start on the real deal. First, the drawing:
Next, the rub-out. I’ve found that my initial little value study helps with this step. The more familiar you are with your subject and your values, the better.
Next up: My favorite part- the magic part. Painting. Stay tuned.
A while ago I showed you this in-progress picture:
with the promise that you would see it transform along the way into a finished painting. I lied. I didn’t mean to! Sometimes I just can’t finish a painting. There’s certainly something to be said for committing to a project; working until your idea comes to fruition; pressing on until the bitter end. But there’s also something to be said for stopping when you realize that what you’re working on just isn’t “you” anymore. That is not to say the same attitude should apply to every situation that bores you, or even to every painting, but of all the commitments you could flake on in life this is one case where the earth will not shatter, hearts will not break, and jobs will not be lost (unless, of course, it’s a commission- which this was not so I’m free to do what I want. So there!).
Now, let’s try this again with a painting I know I’ll finish- in part because I’m much more more in love with the subject matter. A portrait of my daily life.
To start I did a value study:
A quick laying down of the lights and darks of my composition. This is done on a small scale (in proportion to the size and shape of the finished painting) quickly and loosely, with no gridding, no drawing, and no blending. The purpose of this step is just to help you check the balance of lights and darks in your painting. For example, this composition stands alone because it is primarily dark with a bright white center of interest. When paintings edge too much toward mid-range in value, they get dull no matter what your colors or subject. Value studies are helpful, though because you don’t get distracted by the pretty colors or elaborate patterns and you can really see the bones of the picture. So far, so good. And I’m not a bit bored.
Those of you who have been following me for a long time may remember a post that I wrote on my former, blogspot blog. The post was entitled “Pockets of Joy” (click to read it). It was a sad post, and a happy post – A post in mourning of my dear dog Shag (aka The Shagster) who had recently died.
Now, around a year after the anniversary of his death, I painted his portrait. It was therapeutic and a celebration of the best dog ever. I present to you, The Shagster:
I’ve discovered a few new favorite things and I’d like to share them with you!
#1- Grey palette paper
Who knew it would make such a difference, but it’s SO much easier to see color against the neutral grey than against white. Worth the tiny bit extra. The brand I’ve been using is Jack Richeson and co, inc “Grey Matters Paper Pallette.” There are probably others out there, that’s just what my favorite art supply store, Forstall Art Center in Birmingham carries.
#2- A nice palette knife
For far too long I’ve been thrifty (*ahem*, cheap) and made due with a plastic palette knife that wasn’t even the right shape. I would show you, but I actually threw it away after I used this one. It was one of those long, flat ones that looks like it’s made for buttering toast, not mixing paint. Again, who knew it’d make such a difference?
#3- Gamblin’s Solvent Free medium
This is new and I love it. I used to use Liquin, but in hopes of keeping my studio as non-toxic as possible, I had to kick it to the curb. So far this seems like a great alternative.
#4- Bristlon Silver paintbrushes
These brushes have great loading capabilities. I can put as much or as little paint on my surface with ease. Plus, they seem to hold up really well. That’s really saying a lot because I can be TOUGH on some brushes.