Thursday, December 30, 2010
Wednesday, December 29, 2010
- After the interruption, I see some problems in the areas I had done earlier, but I must avoid the temptation to go back and rework them. They were part of an earlier idea that I don't want to lose.
- I find myself wanting to pull new colors into the unworked areas in an effort to transition to new ideas to add interest. The difficulty is to keep continuity throughout. That continuity is difficult because I tend to lose the "inspiration" over the week I've been away.
Time to go slowly, or I will destroy the piece altogether.
I think that after blocking in some of the areas (as was suggested by Carly Hardy) so that the color was consistent, I found it easier to remain faithful to my vision. Also blocked in the road to establish the "cool" contrast to the warm fields. I had to keep reminding myself to stay away from sharp detail and concentrate on forms.
The frost and remains of snow were a touch I want to add, but I'm having a problem getting the shading and shadows right. Snow on the open ground lower left may be a problem.
Thursday, December 23, 2010
Things I learned today, or of which I was reminded:
- Add color not detail.
- Move from passage to passage, don't get bogged down.
When I stay too long in one area, I tend to overwork the painting, and the result is mud!
- I need to put the piece of chalk down as soon as I finish the ONE thing I picked it up for.
If I don't, that color works its way into too many places.
Wednesday, December 22, 2010
Tuesday, December 21, 2010
- Lifelike / realistic - for me, this is the effort to make the painting look like life by matching form, color, value, perspective, etc. The result is as close as I can get to photographic realism. The truth is that I lack the skill or patience to accomplish this.
- Believable - where lifelike requires exact representations of the subject, it is also possible to represent the subject in a way that may not be exact but that is recognizable and avoids being so extreme as to be "unbelievable." The result is a "believable" painting.
- Interesting - an interesting painting is one that captures and holds the attention of the viewer. Unfortunately a painting can be exactly realistic or modified yet believable, but the result is not interesting. The goal I strive for is to make my paintings interesting. I want to capture and hold the interest of the viewer.
The result of the sky in this painting is believable, but is truly uninteresting.
Sunday, December 19, 2010
Remembering that Jesus Christ, of the seed of David, was raised from the dead according to my gospel....
Friday, December 17, 2010
- Rembrandt harder pastels work well. Blending with fingers can wear out the fingers.
- Sennelier works well for accents, last touches.
Textured paper - Arches self-sanded
- Rembrandt does not blend well over broad expanses - the paper texture keeps it from being smooth or blending one color into anohter
- Sennelier works better can be blended with the fingers
Thursday, December 16, 2010
In my estimation, Caravaggio captured personality and emotion in his work better than anyone. At this season, I wanted to remind myself that above all else, this event and the life that followed are the center of all life, time, and eternity.
Wednesday, December 15, 2010
This 30 minute value study for a larger work turned into a multi-day project. My inspiration was a return to a road that I had painted earlier. This particular stretch or road undulates over the hill and then makes a sharp left beyond the abandoned farm place at the top of the hill. The winter shadows were long and dramatic, but the light was still bright. There was some light snow in the bottoms, yet the colors in the fields were still warm and brilliant.
I still plan to do a larger work, so I've left the reference marks in the margins. I will eventually mat and frame this one!
This scene and this day were especially poignant for me because I had my father with me who is in ill health. One never knows when we will return to this place.