I had to let it dry for a couple of days. Here are today’s touch ups. Mostly making the darks more rich and overpainting the concrete. I’m not sure if I’m finished – I have to sit with it awhile. I also need to get a better picture but this is what it looks like as of today.
My friend saw this in the paper and we went to the show on Saturday. Interesting shots of a timeless legend. The image here is from their flyer and was taken by Milton H. Greene.
“A collection of previously unavailable or unseen photographs of the Hollwood legend, taken by five fascinating lensmen who stepped into the icon’s life at the right place, and the right time. These uncovered images are offered for the first time as fine art prints.” www.limitedruns.com
The gallery is at 368 Jackson Street, San Francisco.
Started working on the left side and then the right side really needed some work – and pretty soon I had covered the whole foreground. There are more layers of color in the darks to go, but I got the base down. I have to let this dry for a couple days before continuing. I’m trying for something painterly, but sort of accurate so it makes sense.
So I had to let the underpainting dry for a couple of days. Today I started working on the sky. I find myself being seduced by colors I had forgotten about. Cerulean Blue and Paynes Grey when mixed create a luscious blue. This is off to a good start. I still have to do glazes of color over this but the basic idea is there and the glazes are transparent. If I can create what is in my head right now – I think I’m on to something. It’s just getting it out of your mind and onto canvas. I do find it funny that I’m painting a view of West Oakland – a BART stop that most people would never go to. I’ve always had a thing for industrial landscapes.
So I got in trouble today. Doing what’s been done for centuries. Imprimatura from Wikipedia —”Imprimatura is a term used in painting, meaning an initial stain of color painted on a ground. It provides the painter with a transparent, toned ground which will allow light falling onto the painting to reflect through the paint layers. The term itself stems from the Italian and literally means “first paint layer”. Its use as an underpainting layer can be date back to the guilds and workshops of the Middle Ages; however it comes into standard use by painters during the Renaissance, particularly in Italy. … … An imprimatura is usually made with an earth color, such as raw sienna and often diluted with turpentine.”
So I used turpentine for my imprimatura. One of the women from the studio couldn’t handle the smell gave me a whole lot of grief and left. I got in trouble for what’s been done for centuries. She said,”We’ve never had a problem with Ned” (who oil paints). I’m sorry but I’m not Ned and don’t want to be Ned.
Anyway I was able to carry on and draft out the base of my painting in grisaille. I do my own spin on Venetian Glaze Painting. It’s my version of the way I was taught by an accomplished painter.
It’s been a couple of years since I did an oil painting. I set out to master acrylics about a year ago, before that watercolor. After Open Studios this weekend I wound up taking the BART to San Francisco. It was late in the day and the sun was setting – I’ve been taking pictures from the BART train of the industrial areas in West Oakland. I got some shots that I want to paint and to get the effect I’m after they have to be oil. I haven’t been this inspired in a while. Here is the case I found on the street in San Francisco many years ago that holds my oil paint. It has great old travel stickers on it. Also the promise of a new canvas, just waiting to be something. I thought I would take you through my process on this one. First day taking stock/buying canvas/most of my old paints are usable. I’m in a new studio – in a new place – and I’m going to paint the East Bay where I live now.
Tomorrow – underpainting