Step into the studio as a portrait comes to life.
I put in cool colors and midtones, steering the background
toward the cooler tones.
Time to redefine some edges and figure out the
petals in the center (and focal point) of the painting.
In this case, I worked from the background forward.
After making an underpainting with turpenoid and the chalk pastel, it’s time to begin blocking in colors with oil paint.
Yes, I smudge with my fingers too.
A kneaded eraser pulls the pastel right up, and acts
as a second drawing tool.
I just finished this painting for an upcoming exhibit at the Botanical Gardens.
But I’m really not sure what kind of flower this is. I worked from a photo I took at a
friend’s house. Even she doesn’t know what variety it is. Maybe some type
of chrysanthemum? Whatever it is, it’s a beautiful flower.
I began with a chalk pastel (conte crayon) drawing
on a gessoed panel. The burnt sienna pastel will help create a warm tone for the underpainting,
and will play nicely with the other colors in the painting.
The creative process is messy and often uncertain. Each time I begin a painting, I have a mental picture of the way I want it to turn out. Sometimes it looks just as I hoped it would;
at other times, I feel like a bystander wondering where it will go. But as I've gotten older,
I've learned to enjoy the ride, and am usually happy with whatever I paint, even if it
bears no resemblance to my initial vision.
Here is how this painting blossomed:
All finished and ready for my exhibit at the Botanical Garden!
The basics are done, now it’s time to even up the tones
and make sure the foreground pops!
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