The blue background and its almost velvety textures really plays (ha) well next to the harmonica(s?) Is that a second harmonica underneath or another type of instrument?
Can you please tell a little about how you work with areas in which there is a strong light reflection? For instance, do you normally mix particular colors? Do you paint this first? last?
If these are secrets you don't want to give away, I understand. However, this is something I completely don't know how to even begin to do.
Suzanne - thanks! Yes, that is a second and different type of harmonica behind the first.
Well let's see. It's not always the same, but I'll explain what I can.
I finally learned, in oils but not true for pastels, to paint the background first, up to the edges of where the subject will be. Lately I have been painting on black or brown gessoed surfaces. I see contrast better when I pull values out of the dark color, rather than adding paint to a white surface.
Often I lay in medium tones first and then add darker and finally the lightest values. The hottest highlights go on last.
I mix colors as I go along just combining what looks right and never enough of any color, I must say.
The shiner the object is, the harder the edges of the highlights and colors. Although there may be soft gradations in some areas.
The next painting I will post is an old brushed aluminum coffee pot so the highlights are softer. That will help for a comparison.
I hope this helps some and thanks for asking. I'm sure there are a million ways to do it.
Thanks so much for answering my question. I find your technique very interesting...and would never have thought about working from a black or brown surface...but it really makes sense! You must get a feeling of delight when it is time to add the hottest highlights as this is really what makes your paintings pop!
7 comments:
Wow fantastic again. Happy New Year Johnnie!
Andrea - thanks so much.
The blue background and its almost velvety textures really plays (ha) well next to the harmonica(s?) Is that a second harmonica underneath or another type of instrument?
Can you please tell a little about how you work with areas in which there is a strong light reflection? For instance, do you normally mix particular colors? Do you paint this first? last?
If these are secrets you don't want to give away, I understand. However, this is something I completely don't know how to even begin to do.
Suzanne - thanks! Yes, that is a second and different type of harmonica behind the first.
Well let's see. It's not always the same, but I'll explain what I can.
I finally learned, in oils but not true for pastels, to paint the background first, up to the edges of where the subject will be. Lately I have been painting on black or brown gessoed surfaces. I see contrast better when I pull values out of the dark color, rather than adding paint to a white surface.
Often I lay in medium tones first and then add darker and finally the lightest values. The hottest highlights go on last.
I mix colors as I go along just combining what looks right and never enough of any color, I must say.
The shiner the object is, the harder the edges of the highlights and colors. Although there may be soft gradations in some areas.
The next painting I will post is an old brushed aluminum coffee pot so the highlights are softer. That will help for a comparison.
I hope this helps some and thanks for asking. I'm sure there are a million ways to do it.
Thanks so much for answering my question. I find your technique very interesting...and would never have thought about working from a black or brown surface...but it really makes sense! You must get a feeling of delight when it is time to add the hottest highlights as this is really what makes your paintings pop!
another great one!
I love this, Johnnie. Love it. Love it love it love it love it LOVE it. I don't think I've seen your oils before but they are terrific.
Makes me want to pick up the harp again! I used to play ... a little.
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