So, as you can see, I've jumped right in on the cowboy's face, then shirt, hat and finally I've roughed in some of the sky, just to make sure my relationships are right. I'll keep beating the "Don't get caught up in the details" drum. This painting will change considerably as I work on it.
Working down the canvas, I continue to lay in the chaps, jeans and glove. Then it's on to the body of the horse. I will work along areas that touch each other, rather than jumping from the cowboy's face to the rabbit or prickly pear. It's easier to judge values when you have objects next to one another than trying to guess how they'll line up once they do come together. I try to make it as easy on myself as possible. Also, I'm working on the clouds and sky in the background. It's easier to work the edges of the cowboy and horse into the background when everything is wet, rather than coming back to them later when they are dry. I tend to keep my edges soft at this point, knowing that #1) it looks more natural that way, and #2) it's going to be a painting that has a lot of dust in it and that demands softer edges.
So, as you can see, I've jumped right in on the cowboy's face, then shirt, hat and finally I've roughed in some of the sky, just to make sure my relationships are right. I'll keep beating the "Don't get caught up in the details" drum. This painting will change considerably as I work on it.
Working down the canvas, I continue to lay in the chaps, jeans and glove. Then it's on to the body of the horse. I will work along areas that touch each other, rather than jumping from the cowboy's face to the rabbit or prickly pear. It's easier to judge values when you have objects next to one another than trying to guess how they'll line up once they do come together. I try to make it as easy on myself as possible. Also, I'm working on the clouds and sky in the background. It's easier to work the edges of the cowboy and horse into the background when everything is wet, rather than coming back to them later when they are dry. I tend to keep my edges soft at this point, knowing that #1) it looks more natural that way, and #2) it's going to be a painting that has a lot of dust in it and that demands softer edges.
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2 comments:
Hi Steve,
You beat the "no details drum" and I have a sign over my easel in big letters "PATIENCE". I'll run out of wall if all the helpful hints keep becoming posters. Is "Hare Trigger" a commission,for a show, or something you have been wanting to paint?
The more I see your great work the more I realise how far my road is!!
Tim Fitz
Hey Tim! I know exactly what you mean about the notes to yourself, HAha... my studio is covered with 'em. My favorite came from Mat Smith, 'Emphasize the essential, minimize the obvious'. Can't tell you how many times that one has saved my butt. Don't you worry about how long that road is, you work hard and you'll get where you're going. I know you work hard, I'm not worried about you at all!
Hare Trigger is sold, but started just as an idea and something I just wanted to paint. It will be going to it's new home in Tucson just in time for Christmas (Thanks again Anne!).
Thanks for following me and the posts... Makes me feel like I ain't talkin' to myself =0})
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