First off, I scribbled in some undercolours with pencils and hard pastels.
Based on the undercoat, I chose a selection of pastels that would be the main workhorses for the next phase. As you might be able to make out, it's a varied range of ochres, yellows, and umbers, and draws from Artisan Pastellier, Blue Mountain (the square ones), Sennelier, Rembrandt and a few Caran d'Ache. You can make out a colour reference on top.
Working from the top left, I started with the urn.
First overcoat on the lemon.
The lemon is large and bright, so I needed to check its value and chroma against the mooted background colour (Sennelier dark greens 178 and 179). Also the light green in the lamp.
The lemon was too light in value overall, so that needed adjustment.
The background was completed, with a contrasting dark for the surface on which the objects were placed. Reflections were painted in, and this is when I realised I had a painting 42 cm wide by 48 cm high, with a lot of empty space on top. So I took off 6 cm from the top to make it square.
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| Tea for the Tillerman © Niall O'Neill |
I believe that when we contemplate art, we stimulate the motor cortex - the part of the brain that controls body movement. We do not just see the object, but we feel it with every cell. We feel the pictures, we feel the music. Looking at painting, all positive thoughts awaken in a person. I want to contemplate and do good.
ReplyDeleteI have always been fascinated by people who can draw from their imagination.
I can only sketch.
Looking through the pages of your site, I want to express my gratitude for the work that you have put into these articles.
Correctly selected paper also plays an important role.
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You write interestingly, I could not tear myself away from the text until I read it to the end. Thank you for the interesting content.
How much the color scheme affects the final result and gives an individual character.