3593Here's how the work on the "Eggplant With Peppers" painting is proceeding.
EWP, as will be recalled is the first project out of John Barber's The Acrylic Color Wheel Book, and is a project that acquaints (or re-acquaints) one with the basic ideas of arranging subjects in still-life, color mixing, glazing, and creating highlights.
The book, which hovers somewhere between moderate tyro and beginner masterclass, doesn't grab your hand and direct the brush so much as it tells you generally where to go and you take your chances. This is a positive thing, because by trying something you aren't wholly confident on yet seems, at this point, what I need to get experience and grow.
The opening moves were to fill in the simple veggie shapes with simple colors straight from the tube. The two yellow peppers were filled in with cadmium yellow, and the long and small peppers were a mixture of that yellow and ultramarine.
See the palette below:
The painting is a simple still-life and the shapes easy to fill in, the directions for the colors easy to follow.
The challenge at this point came at defining the shadow in the cut pepper, which turned out a lot rougher than I'd hoped.
The blue-gray color for the neutral background came out a bit more blue than I expected as well. The shadows, however, I find, are kinda convincing. Kinda.
EWP, as will be recalled is the first project out of John Barber's The Acrylic Color Wheel Book, and is a project that acquaints (or re-acquaints) one with the basic ideas of arranging subjects in still-life, color mixing, glazing, and creating highlights.
The book, which hovers somewhere between moderate tyro and beginner masterclass, doesn't grab your hand and direct the brush so much as it tells you generally where to go and you take your chances. This is a positive thing, because by trying something you aren't wholly confident on yet seems, at this point, what I need to get experience and grow.
The opening moves were to fill in the simple veggie shapes with simple colors straight from the tube. The two yellow peppers were filled in with cadmium yellow, and the long and small peppers were a mixture of that yellow and ultramarine.
See the palette below:
The painting is a simple still-life and the shapes easy to fill in, the directions for the colors easy to follow.
The challenge at this point came at defining the shadow in the cut pepper, which turned out a lot rougher than I'd hoped.
The blue-gray color for the neutral background came out a bit more blue than I expected as well. The shadows, however, I find, are kinda convincing. Kinda.
I'm tabling this for a few days while I go on to the first three or four of 50 Small Paintings. And what are those? Well, tune in for our next missive, which comes up...
Right now.
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