|The finished painting is at the top of the post.|
The panel with my value drawing, in Burnt Siennna.
I use this to place the elements in the composition and make sure I can capture what I am after.
This is a photo of the underpainting. Done in Burnt Sienna, this is how I place my image on the panel, develop the pattern of values and make sure I like the composition.
Here I have begun to weave the background of leaves that the branch I am focusing on is nestled into.
Here I have spent several sessions on the acorns and leaves in the foreground. Several more are required to finish the detail of the subject, and to balance it with the background.
The finished painting is found at the top of the post.
Forgot to take a photo of the underpainting, but here you can see it with some of the early steps of painting over it using my entire palette.
The burnt sienna value drawing/underpainting
The very start of laying in color over the value drawing.
The first layer of all color completed. Now I let it dry fully before beginning to make all the refinements and adjustments it calls for.
Several days into the process of defining the way sunlight and shadow weave the gorgeous leaves of this plant together into a dramatic composition.
The final, completed image is at the top of the post.
Once the Burnt Sienna has dried I begin laying in the color, keeping true to the values I had established in the original drawing.
Painting the reflective surface of not only the Mixmaster but the corrugated metal behind it was a fun challenge.
The completed painting is at the top of the post.
My first step is to do a tonal drawing on the panel in Burnt Sienna
Here I have completed the first layer of color. I seek to find the median colors of all areas while staying true to the values I made note of in the monochromatic underpainting
The Burnt Sienna value study
The first layer of color
|The tonal drawing, in Burnt Sienna|
|Sticking to the median color and value of each shape, |
I developed the underpainting
|Then I spent days finding the variations within each shape,|
and the rhythms of the whole
|This 12x16 oil on panel is Echeveria 2.|
|Tonal under painting for #2|
|#2's bold teen years|
|Tonal underpainting for #3|
|#3's quiet phase|
OK, perhaps I'm spending a little too much time alone.
This trio of 11x14 oils on panel are all patterns that I found in plant material. I worked on them in unison and they are an interesting little tribe.
Close Quarters is a close up on a plant that I found on the fringe of a parking lot. It's soft leaves crowded together in a beautiful tangle that I couldn't resist.
Palm Herringbone is the beautiful wreckage of past seasons. The muscular base of old fronds ring the trunk in a dapper herringbone.
Now can I paint something simpler? Perhaps not monochromatic? Fewer thorns, hairs and twists and turns? Please?