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Winged Seeds 24x36 oil in panel This painting just left to take up residence at a sweet friend's beautiful home. I will miss it, and the studio feels a bit empty without it. It is one of the larger paintings I have done, which means that it commanded a lot of space, and it is by far the painting that I worked on longest... over a year! I started it in February of 2017 and only just finished it. I would work on it in fits and starts, with many other projects completed while it was percolating. These uniquely beautiful pods and seeds in real life are no bigger than an inch high. |
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| I decided to experiment with a new approach. I started using latex paint (yes, house paint) to execute the underpainting. I painted directly instead of using the method I have come to rely on - working from a middle tone, laying in my darks and wiping away the lights. |
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| Also, you might notice that the color is not my traditional Burnt Sienna. Far from it! I thought I'd use the complimentary color, or the one directly across the color wheel, from the green that I knew would dominate the painting. |
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| Once I had the shapes and the darks and lights mapped out the next step was laying in the color. |
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| I thought that if I had bits of the complimentary color peek through it would add sparkle to the piece |
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| With the color laid in in a general way I stood back and realized that in my usual thorough way I had managed to paint right over most of those little flickering bits of complimentary color I had been excited to let show through. Old habits are hard to break! Oh well "I yam who I yam"! |
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| As I built the painting I realized there were shapes that didn't work compositionally that I decided to remove. |
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| Liking the simplified composition, I focused on how the light caught each object |
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| I worked on defining the forms and how they relate to one another, pushing the background deeper and pulling up the light on the foreground. |
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| Nearing completion, I continue to add details and and make sure that the stars of this show are in the spotlight. I double check that my focal points are working and that the eye travels around the painting in the way I would like. In the final sessions I glaze (putting a thin coat of transparent color) on some objects to further push them back, and I warm other passages with a glaze. I reaffirm my high lights, and then do what what I find the hardest part of any painting - sign it and call it finished! The finished piece is at the top of the post. |
