I have blocked in more of the background and used a wash of related colours to indicate glimpses of light on leaves at the back of the flowers. As more of the background is blocked in, the flowers, which are the subject of the painting, will become more apparent as a white silhouette. I shall paint more of the leaves as I continue and only add the flowers at the end. When taking a break from this painting I will be outlining my 'Food School" oil painting.
Wednesday, April 29, 2015
This is just the start of the azalea painting. I have begun to block in the dark colours between the flowers and leaves which are in sunlight. The darks are mixed using Sap Green, Burnt Umber and Indigo with Winsor & Newton Professional watercolours, in tubes. I will leave some shapes to add muted colours to making the background seem more natural i.e. some of the flower colour and lighter greens as glimpses of light in the shade. This will become more apparent as I progress with the background. The composition is difficult to see in the photo as I only outline faint lines so as not to adulterate the paint.
Monday, April 27, 2015
Almost ready to apply paint to the first watercolour. It is daunting but exciting just before you commit paint to paper.
Another drawing of the pig who's name will not yet be revealed. She was in such disdain about her move initially, that this was the view her owners saw most of! The painting with the red collar was a portrait commissioned by her owners done before the move, and the one with the green collar once she had had a few days in her new home.
Another drawing of the pig who's name will not yet be revealed. She was in such disdain about her move initially, that this was the view her owners saw most of! The painting with the red collar was a portrait commissioned by her owners done before the move, and the one with the green collar once she had had a few days in her new home.
Sunday, April 26, 2015
Saturday, April 25, 2015
I have begun to outline the azalea composition on the paper. I use a soft pencil as I like to erase the lines as I paint so as not to taint the colour. It is acceptable to see drawing lines in some watercolour paintings but that is not what I want in mine. The overall composition previously posted shows a suggested triangle created by the flower heads. I try to make this a part of most of my floral paintings as it makes for a stable composition and is easy to look at for the viewer. I shall continue with the outline over the next few days and will then paint in the background leaves and dark areas. At this stage the flower heads are presented as a white silhouette which is a stage I quite like.
Along with the three painting that are in progress, I am also working on some drawings to use as illustration to a children's book. The drawings, in pencil on textured watercolour paper, will accompany a story being written by my wife on how the pig, which shall remain anonymous at this stage, coped with its house move to a larger block of land. The illustrations will almost all be in black and white with the addition of a little colour. There will also be two colour plates of the paintings I did of her. One before the move and one, showing her a little happier after the move. The paintings can be seen on our web page www.rigmarole.com.au All we need to do once finished is get a publisher to publish!
Along with the three painting that are in progress, I am also working on some drawings to use as illustration to a children's book. The drawings, in pencil on textured watercolour paper, will accompany a story being written by my wife on how the pig, which shall remain anonymous at this stage, coped with its house move to a larger block of land. The illustrations will almost all be in black and white with the addition of a little colour. There will also be two colour plates of the paintings I did of her. One before the move and one, showing her a little happier after the move. The paintings can be seen on our web page www.rigmarole.com.au All we need to do once finished is get a publisher to publish!
Here are the Spanish Steps in Roma with Eileen enjoying standing with the Azaleas, which will be one of the subjects of my watercolour painting. The other is of the Jacaranda tree, which grows in the street in which I live. This will be the subject of my second watercolour painting.
I have discovered that I like to work on more than one painting at a time, even if they move at a slow pace. One of the things that I don't compromise on with my watercolours is the use, or should I say the non use of white paint. By allowing the white of the paper to reflect light through gives a much more natural 'light' feel to the painting. Neither do I use black watercolour paint as my view is, that black is the complete absence of light, which cannot occur in a natural setting on Earth, so my blacks are a mixture of dark colours and can be given a hue to suit the situation.
I have discovered that I like to work on more than one painting at a time, even if they move at a slow pace. One of the things that I don't compromise on with my watercolours is the use, or should I say the non use of white paint. By allowing the white of the paper to reflect light through gives a much more natural 'light' feel to the painting. Neither do I use black watercolour paint as my view is, that black is the complete absence of light, which cannot occur in a natural setting on Earth, so my blacks are a mixture of dark colours and can be given a hue to suit the situation.
Thursday, April 23, 2015
The internet has been down in our area for a little more than a day, so didn't prepare.
Since my last post, I have started to outline the composition on the Azalea watercolour which I shall post when completed, planned my next oil based on my visit to New York. It is another interior which was quite fascinating and reminded me of the movie 'Julie and Julia'. It will be of the interior of a cooking school found in the centre of Manhattan of all places. I have also started preparation for a second watercolour, while it is in my mind, of the beautiful jacaranda flower. I have done one previously which was a little smaller but it inspired me to want to move into a larger size. With a larger size it is easier to immerse yourself in the wonderful tones and colour. The splendour of nature! Attached is the previous painting for those not familiar with the jacaranda.
Since my last post, I have started to outline the composition on the Azalea watercolour which I shall post when completed, planned my next oil based on my visit to New York. It is another interior which was quite fascinating and reminded me of the movie 'Julie and Julia'. It will be of the interior of a cooking school found in the centre of Manhattan of all places. I have also started preparation for a second watercolour, while it is in my mind, of the beautiful jacaranda flower. I have done one previously which was a little smaller but it inspired me to want to move into a larger size. With a larger size it is easier to immerse yourself in the wonderful tones and colour. The splendour of nature! Attached is the previous painting for those not familiar with the jacaranda.
Monday, April 20, 2015
I have decided to consider the composition of the azalea flowers at the Spanish Steps in Roma. An outline takes very little time, but gives me a general feel for how the overall painting will look. I liked the two flowers sketched previously but will add more to fit the suggested form of the composition as I work. In the background areas, I shall add leaves and buds to create a more natural feel. There are similar plants in the Brisbane Botanical Gardens for me to use as models, but I shall try to create the lush quality of light that I experiences in Rome. Fortunately Brisbane has a similar light quality especially on the approach to winter where the light seems to have a 'crisp' quality.
The composition will be built around the two flowers which will dominate at the top of the composition keeping the eye of the viewer central to the work. I may decide to extend some petals outside the frame as I draw, as this adds dimension but I may also decide to keep it all in the frame which 'contains' the subject
The composition will be built around the two flowers which will dominate at the top of the composition keeping the eye of the viewer central to the work. I may decide to extend some petals outside the frame as I draw, as this adds dimension but I may also decide to keep it all in the frame which 'contains' the subject
I am working through some preparatory sketches done of the Ponte Vecchio bridge in Firenze. I am considering the subject for a future oil painting. It is such an iconic tourist icon that I am hesitating, but I still have urge to take on the challenge that the many perspectives, either intentional or unintentional, present.
I have not made a decision yet, as I am also considering another painting of the canals in Venezia. Whilst there are many parts of Italy, France and the USA that are familiar to tourists, It is my connection to them, formed during an art study tour in 2013, that creates the desire in me to depict my experiences on canvas.
I have not made a decision yet, as I am also considering another painting of the canals in Venezia. Whilst there are many parts of Italy, France and the USA that are familiar to tourists, It is my connection to them, formed during an art study tour in 2013, that creates the desire in me to depict my experiences on canvas.
Saturday, April 18, 2015
I have begun to sketch the azalea flowers in preparation for my watercolour painting. I shall complete a number of sketches that will form part of a composition for the full painting. It is important that the arrangement of blooms is balanced within the composition which, although some leaves will be there to complement the flowers, will be dominated by the pink blooms. The light, which was strong on a 30 degree sunny Rome in May 2013, will be accentuated by the use of some intense shadows. One of the features that I love about azalea flowers is the pattern on some of the petals that resembles shadows from the stamens. In the painting it will be important to differentiate between these.
This will be my last post of my 'Off Broadway' painting. When I have lived with it for a couple of weeks, I may add a few slight additions or touch-ups but, at the moment, I shall call it FINISHED!
I will begin drawing tomorrow in readiness for my painting of the azalea flowers on the Spanish Steps in lovely Roma whilst I think about my next oil.
I will begin drawing tomorrow in readiness for my painting of the azalea flowers on the Spanish Steps in lovely Roma whilst I think about my next oil.
Thursday, April 16, 2015
The painting is now almost complete. One more session to add highlights and the lit sections of the strip lighting and I may consider it finished. If I returned to the work after a considerable absence, I am sure that there are areas that I would consider changing but I have other paintings in my head that need to find their way to a canvas or paper.
Wednesday, April 15, 2015
I haven't had as much time to focus on the painting today, but have added the moving figure in the background. The focus on this figure is even more impressionistic to reflect the movement as with the small wisp of hair in front of the face. I shall decide whether to tighten up the focus when I am adding the final touches.
Sunday, April 12, 2015
The bottom left hand corner is almost complete. I have blocked in the back of the chair with some highlights and adjusted the profile of the figure a little. All these additions and changes are subtle but are important to achieve the effect that I am trying to achieve. The differences between yesterday's entry and todays may be small but, I feel, are important for me to include before I continue. If all goes to plan tomorrow, I shall work on including the bending figure with the hair bun and blocking some of the background.
Moving further with the figure but some adjustments to the highlights and shadows will be needed later. The background here will be more abstracted and 'out of focus' which will add some dimension to the composition. I shall work on the read of the chair next to complete the bottom corner of the painting.
Saturday, April 11, 2015
The first session on the final figure on the left has the beginnings of the lace-like pattern and the hair blocked in. The lace will need changes in tone to add dimension to the garment. The face will need highlights and refining as will her glasses, which are only suggested at this stage. Once the surrounding background is blocked in, the face will become more apparent.
Thursday, April 9, 2015
More work on the left side of the painting. I have blocked in the background colour to the lady's dress on the extreme left. When dry, I intend to paint a lace-like pattern over the top, which will differentiate the figures and link to the white garments on the right hand side of the painting. Whilst the bottom left corner of the painting is very dark because of the extreme shadows caused by the ambient lighting, there will be subtle colour tones added at a later stage to create some interest.
Whilst this painting is in the 'end game' phase I am planning my next. A watercolour of Azalea flowers I encountered on the Spanish Steps in Roma, Italy and another oil based on my fantastic experiences in New York.
Whilst this painting is in the 'end game' phase I am planning my next. A watercolour of Azalea flowers I encountered on the Spanish Steps in Roma, Italy and another oil based on my fantastic experiences in New York.
Wednesday, April 8, 2015
I am happy with the green/blue for the garment on the left as it gives more dimension to the seated figures. The smaller details are in progress and not yet complete. Its the little things that we take for granted that enrich our lives and, for me, enrich a painting. This painting, will, not only tell a story, but will be a vivid memory of my shared experience in this venue.
Tuesday, April 7, 2015
The 'haze' from the light has taken away the 'hard edge' of the light fitting which I didn't like. In reality, our eyes don't always register this haze, which, I believe, may be created by the moisture that lubricates our eyeball.
The third lady has the body of her hair under-painted with some of the flesh of her back exposed. I haven't decided, yet, how much of her back will be showing when I have completed the long hair.
The painting is 'busy' but my intention is for the eye of the viewer to roam over it to see the 'story' told, plus the fact that it is a very busy and exciting environment.
The third lady has the body of her hair under-painted with some of the flesh of her back exposed. I haven't decided, yet, how much of her back will be showing when I have completed the long hair.
The painting is 'busy' but my intention is for the eye of the viewer to roam over it to see the 'story' told, plus the fact that it is a very busy and exciting environment.
Monday, April 6, 2015
Saturday, April 4, 2015
I have blocked in the lady's singlet/blouse but it will need more contrast before finished. The second salt container is now painted but, again, it will need more detail and highlights before being complete. I have continued with the flesh and will consider more to that, as I work further on her clothing.
I was not happy with the angle of the strap of the handbag, which is draped over the back of the chair, so have added some underpainting white to facilitate a change, as I feel necessary, to make it 'right' in the composition.
I was not happy with the angle of the strap of the handbag, which is draped over the back of the chair, so have added some underpainting white to facilitate a change, as I feel necessary, to make it 'right' in the composition.
Thursday, April 2, 2015
Today I under-painted the lady's sun-kissed arm. Some more contrast and extra tones will be added at a later stage. The area of her back below the shadow of her hair will reflect some of the ambient light. This is what excites me about doing this painting. I love the challenge of painting the effects of the coloured lighting on the flesh tones of the subjects.
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