As for the lighting . . .I sorta got it, but feel that I could have been less timid. I wanted a yellow / orange sky, but for the life of me, I couldn’t get the superstructure of the ship to read as white when I put the shadow. The actual image in the photo reveals that structure to be quite dark against a light sky. That’s no problem, but the colors proved difficult . . .so I resorted to warm light / cool shadows with warm reflected light in the shadows . . .what I know from landscape painting. I guess I have to dig some more. . . . this is the last of this ship for now. I have to work on my “Miroir d Eau” painting. I am planning to use that as a demo in some upcoming workshops. Wish me luck!
When I thought about it, I had to ask WHY was I painting this subject . . .(the big ship) ? It was the immensity of it that grabbed me, then the light and how that golden morning set colors into a different world. It sure as heck is NOT about the details or correctness of the ship.
So, back to the sketch book! . . . . and to play with some color ideas. The reason for the color investigations is that the superstructure of the bridge of the ship is white . . .but against the sky in that light it was actually quite dark. So, how do I put that rascal in the painting, make it dark, and still get it to read as white? Now there is a question for you!
To get this painting on the right track, for once I actually have had to resort to perspective and vanishing points. I need to exaggerate the perspective to make the blocky nature of the bridge of the ship more interesting. It’s a shape thing !
Then I MUST put scale to work. So, I have decided that rather than having a path in a park like I had yesterday, I should put in a road with cars travelling on it . . . .and the comparison of those . . .and a few palms . . .will send a clear message of enormity.
It has taken me several sketches to come to these conclusions. I can feel it now. I am getting closer. Now that I have this in mind, I must decide on technique to fit the mood. I still have more decisions to make and challenges to resolve. Does this EVER get easy???
Meanwhile . . . my classes have begun and I am in that space of dreaming up different ways to show painters ‘how to’ and to help them capture new paths of thought in their work.
I am spending more time emphasizing the interrelationships of Content (subject), Technique and Design and how those relationships affect the mood outcome of a painting. Of course, I have been demonstrating different techniques to some of the classes . . . .recently, painting into wet or damp paper . . .to achieve different edges and textures of the paint. That technique, with variation, and the manipulation of value arrangements, color and edges can express many different moods.
In the paintings above, the drawing has not changed (except just a little bit, unintentionally), but dominances of intensity, hue and temperature have definitely changed. See how the emphasis has shifted from the top of the painting to the bottom? See how the process of moving from painting ‘things’ to constructing an overall atmosphere can completely shift an idea? See how limiting contrasts can affect the mood? And how the increase of contrast can move the mood, too?
Isn’t it interesting how such different feelings can be generated without changing the actual drawing?