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!
Wow fantastic again. Happy New Year Johnnie!
ReplyDeleteAndrea - thanks so much.
ReplyDeleteThe 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?
ReplyDeleteCan 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.
ReplyDeleteWell 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!
ReplyDeleteanother great one!
ReplyDeleteI 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.
ReplyDeleteMakes me want to pick up the harp again! I used to play ... a little.