Remember I was attempting a reproduction of the digital painting below?
I had intended to do this post this morning, but got ever so slightly sidetracked along the way. Several hours later, and a number of necessary chores completed, I am come to sit at the computer to execute my original plan.
Just as a wee reminder, the image below is how it looked after the first layers of oil paint were added to the blocked in stage, which was done in acrylic.
You may also remember I was having difficulty cleaning my new paint palette – which was supposed to be some new fangled plastic that would prevent the oil paint from sticking so much, and which was supposed to be very easy to clean. Sigh. Putting my chemist’s brain on, it occurred to me that it still required a solvent that would loose the oil enough for it to be simply wiped away – as was supposed to be the case with just soap and warm water (that really doesn’t work). Oil in itself is an extremely good solvent, particularly oil extracted from some kind of fruit that contains natural esters. Olive oil sprung to mind, and indeed it was very effective at removing the paint, more so than Canola, I tried that too. So, problem solved. Still required a little bit of elbow grease to get the paint shifted, but it’s certainly a less toxic way of cleaning my palette, and it smells like a summer salad.
Here is the painting in its current state. I’ve been waiting for it to dry so that I can add the final touches of grass and whatnot. For some reason, Lemon Yellow paint takes an absolute age to dry – I’m talking weeks more than any other colour. I’ve experienced this with previous paintings too. It’s a pain, and I’ve been caught unawares a couple of times while moving the painting around to be photographed.
It’s a different enough version than the above digital painting. Disappointingly so, in some respects, though it has confirmed that the digital method of reproducing a painting is a worthy medium in its own right, and that I find fairly satisfying. The digital paintings also serve as good inspiration for potential colour palettes and compositional forms when coming up with new painting ideas.
I’m also doing what I said I was going to do and working on multiple paintings. Four, to be precise. My painting of the Venetian Fruit Cart is coming along. I spent two solid weeks perfecting the layout sketch, trying to get it as close to the photograph as I possibly could. So far so good. I’ve started painting in the black tones, having changed my initial plan of attack, though I haven’t done any further work on it for a few weeks now.
Many hours have already gone into this painting, though it’s far from being completed. Long way to go yet.
The fourth painting I’m currently working on is one based on a sketch of Bill’s. I’m just in the middle of finishing up the layout sketch and will reveal all once it’s done.
Here’s a sneak peek at the last character to be added to the layout: