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Here is the overpainting in-progress of a Farmall C. Total of 37 hours to date.
The time spent capturing vibrant light effect of the underpainting executed in Quinacridone Magenta has definitely paid off. As I noted in a previous Blog posting, matching overpainting values to this underpainting has ensured the dynamic of the light in this composition. With only half of the overpainting completed there is already a sense of bright early morning June light casting long shadows. I find the early morning and late afternoon light to be the most compelling light for creating dynamic compositions. The low angle of the sun creates great cast shadows and seems to magnify colors of the contrasting light and darks of the composition.
Lately I have been departing from the color information presented in my photographic reference image. Many years experience as a professional graphic artist specializing in digital image editing have served me well. I know how to manipulate the color, tone, and contrast of a photographic image to effectively overcome the common (and very tired) complaints of the undesirability and untrustworthiness of relying on photographic images to create paintings. A point of view I totally disagree with, btw.
So, although I am confident in the veracity of my reference images and the overall hues are, for the most part, the same as in my reference images, I am experimenting and inventing (for myself) a new way of presenting those color relationships. One example is a somewhat more prismatic handling of the paint, exaggerating colors and edge effects to describe the forms in the light, and in the shadows. Another example is that I am finding it more interesting visually to describe forms with hue shifts rather than break the values within the form. That means manipulating so called “cool” and “warm” colors to turn forms within value masses without breaking them up. And, I am having a lot of fun with it all — making most of it up as I go and seeing each new painting dramatically improving.