Sunday, September 7, 2014

STEP-BY-STEP_ON A BROKEN LEDGE

Here is an abbreviated step-by-step of my procedure on this painting.  I don't always use the exact same process.  The subject and my objective usually dictate how I will begin and develop a painting.  This, however, is very characteristic of usual thinking.

1_The B&W is my NOTAN.  It's usually smaller than a 3x3 area, and done in my little 4x6 sketchbook that goes everywhere with me.  (One of my chief "art-o-vision" tools).  I like to use TOMBO brush pens, N65 for mid-value and N15 for my dark group. This is always my first physical step to doing a painting.  I think of these as little paintings, not sketches.  I've used pencil in the past, but I have a tendency to get "to cute" with what can be suggested with that tool.  I'm only after the most basic arrangement of my idea for the distribution of light, mid-value and shade.  Below the notan, you see my basic color idea that I'll use.  Often I'll only use one tube color for each hue, plus black and white.  It's a great way to develop mixing skill, and explore possible  color harmonies.
 2_My basic lay-in is done with a transparent, neutral mix of my dominant hue choice.  I like Liquin for this.  No white.  In this step, I'm just establishing my big division of light and dark into a pattern that interests me.  I'll usually wipe-out the light areas.
3_I like block-in my major shapes by indicating their relative values and temperatures.  I'm not very concerned about hue at this point, as long as it somewhat over-states the temperature relationships.  That's fun to paint on top of in coming stages.


 4_Here, I'm concerned with more clearly defining the overall value range and relationship of the shapes. I'm still not concerned with creating any defined edges at this point, and I'd rather they stay pretty soft everywhere until I'm ready to develop my focal area.
5_Next, I pre-mix a few of the colors for the major shapes, with fairly close attention to value groups, and a move toward the influence of local color.  I use the color in the scene as a guide, or suggestion, for the colors I will use in the painting, where I'm more interested in having fun with the harmony of my chosen hues.

6_In the finishing stage, I bring up a bit of detail mainly in the general focal area.  I'm paying close attention to edge relationships, cohesive value groups, developing my color idea, enjoying the quality of the paint, and some final touches of accent colors, hi-light and accent, and one or two crisp edges at the focal point.

ON A BROKEN LEDGE
©Jimmy Longacre 2014
16X20 oil on canvas panel

Jimmy Longacre
subjective realist landscape paintings



GALLERY LINKS
Capital Fine Art Gallery Austin TX 

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