Monday, July 22, 2019

Twilight Time, Finished!

The Finished Painting

I have really struggled with this painting, getting it to a point where I liked it. I have now added the flowers and details to make this an inviting scene. I'm very happy with it now.  It makes a big difference to have the houses of a different size. I've put some lights in the windows so you know that someone is home.

Monday, July 15, 2019

Twilight Time, Step 7

Drastic Changes

After much deliberation and trial and error, I finally decided that I would feature the large house, so I made the one to its right a bit smaller to look more like a guest house.  I deleted the little cabin replacing it with a small rowboat in the reeds, so I still have the balance of the steelyard composition. I like the feeling of this so much better, as I have implied a story which anyone can read something into it.

Monday, July 8, 2019

Twilight Time, Step 7

Here I have developed the trees a little more, bringing them into focus.  Unfortunately the more I develop them, the less I like the whole composition. The buildings are competing with each other.  I need to decide which one is more important so that my eye doesn't keep jumping around.

Tuesday, March 12, 2019

Twilight Time, Step 6

Here I have developed the cabin a bit more, still trying to figure out if this works or not.  It's the classical "steelyard" composition where something small on one side balances a larger mass toward
the center.  Think seesaw.

Here you can see where I've worked on the trees, the sky, and the water reflections.  This really brightens the whole  painting. 
I have developed the trees and the cabin more, still trying to decided if it's going to survive its audition. I'm not totally in love with it yet, because it takes away the elegance of the home.  It makes it more of a farm.  

Thursday, April 19, 2018

Twilight Time, Step 5

The color underpainting

I continue to paint working from top to bottom and from back to front, roughing in approximate colors as a foundation. I'm careful to preserve my drawing and the values of the burnt umber underpainting. These new colors should be a tad darker than were I ultimately one to end up.

At this point, it's all very general and I can make changes at any time. It brings me to the point where I can evaluate if this is where I want to be.    

Monday, April 9, 2018

Twilight Time, Step 4

The burnt umber underpainting

After the line drawing, I then proceeded to do a value painting in burnt umber to use as a basis for my painting.  This helps me a lot because at this point I can see the values and the composition of the painting without investing a whole lot of time. It tells me everything I need to know.  

Then I roughed in the sky following the previous sky photo. I avoided the reflections from the trees and buildings as I will painting them last...after everything else is in it's place and I know what needs reflections and where.  

Tuesday, April 3, 2018

Twilight Time, Step 3

Transferring the drawing onto the canvas

I am using one of the canvasses that I have prepared using Belgian linen on commercial stretcher bars. After the application of rabbit skin glue and several coats of gesso, I then tone the canvas with a neutral color in a middle value.  Shown here I the canvas gridded every inch with a light touch of soft vine charcoal.  I have numbered the squares 1-24 across top and 1-14 down the left side.

Then using the gridded and edited photograph, I carefully follow the lines to enlarge the drawing to the final size. I try to be as accurate as possible.

Then I carefully wipe off the gridded lines just leaving the lines for the painting.  There is no place for detail at this stage.