I started this fun new painting Wednesday while I was working at The ARThouse Gallery in Glen Ellen, California. It's a 28" square canvas that I built myself. Stay tuned for the process in progress...
Aloha, Timo
I started a new painting yesterday while I was working at the ARThouse Gallery in Glen Ellen, California. It is a larger version of a little 8" x 10" that I did a number of years ago of a very tilted angle of view looking down a grassy bluff above a rocky beach on our sonoma coast in the last golden orange light before sunset.
No name for it yet...It is on a 22" x 28" stretched canvas, but not one that I built myself.
The toning and underpainting that you see here was done in about 2 hours.
Pigments used so far are: Titanium White, Permanent Rose, Raw Sienna, Burnt Sienna, Cadmium Yellow Medium, Sap Green, Alizerine Crimson and Ultramarine Blue.
Mahalo for stopping in!
Timo
Continuing to work the upper portions of the compsition with the gradually distancing cool colors of shadow seen through thicker and thicker atmosphere as it recedes further away.
Continuing to paint a somewhat cooler shadow color across the treeline from left to right...Still working with a large (#12) longhandled Flat Hogbristle brush. The scene is backlit by the late afternoon Sunlight...So the colors are dramatic in the contrasts between the bright warms and the cooler darks.
I'm using a fairly large (#14) long handled natural hog bristle flat brush. to work the pigment/medium onto the canvas...A lot of different sorts of movements and stroke directions to keep it interesting and the results feeling natural. Still underpainting a bit but starting to layer some shadow colors over my bright underpainting.
Laying in my bright yellows over the stark white gessoed surface of the canvas really helps keep them as vibrant as they need to be in the final aspect of the painting. Even though there won't be nearly that much showing by then.
I started a new painting night before last on a commercially built 30" x 40" canvas that was part of a group of supports traded to me for a resoration job that I'm doing for a friend.
This is the result of the first session of underpainting. What follows will be modified by these first colors that go on the canvas.
I started the painting of the Indonesian cockfighter yesterday and was able to get this much done so far. Toned the canvas with Raw Sienna mixed with Burnt Sienna and then sketched it in with a small long-handled flat bristle brush in Burnt Sienna And a bit of Burnt Umber...Scrubbed out the light area of the hibiscus with a touch of the medium o the same brush then dabbed it with a rag to remove some pigment. I'm still moving things around a bit at this point to try to get it all in proportion.
Mahalo for checking in today.
Aloha, Timo
After the canvas is stretched it gets stapled to the backside of the stretcherframe. Then it gets brushed free of lint, etc. and given 3 coats of acrylic gessoe, sanded after each coat to give it a smoother surface for doing detail.
I've been building a new canvas in preparation for a painting that I'm going to be doing for an old friend of mine. These are the tools I use for the stretching part after the stretcher frame has been constructed and the edges sanded. A pair of regular wide-mouth pliers, an awl to start holes in hard wood, a tackhammer, 1/2" carpet tacks and a staplegun (not shown) to keep the canvas in position while it's being stretched on the stretcherframe which in this instance is a 12" x 20" made in house.
I'll use it in a vertical position for the piece that I'm doing of an Indonesian man holding his gamecock.
Mahalo for stopping by.
Aloha, Timo
Another start on a non-objective piece utillizing yellow & blue over another old abstract that I didn't want to keep. Then I added some reds...It's hard not to ..The older painting had a lot of warm colors like orange in it. I touched this one some more after this photo was taken of it. I'll update soon.
Mahalo & Aloha,
Timo
So anyway...Back again to the inner visual painting that I began about a week or so ago. I worked in both yellow and blue to alter shapes and brighten areas that were too dark.. (Scroll down to the post before last to see how it started.) Again...the interaction of fairly simple positive and negative shapes causes our brains to quickly familiarize and associatively recognise animals, faces, etc. in the totally non-objective abstraction of just two colors. Yellow & Blue
I began another inner visual remembrance painting a few days ago...This is the photo of how it was for awhile before I started trying to alter it to fit the movie of the inspiring events that go off in my head when I concentrate on that experience. Yellow and Blue liquids...Intensely illuminated from within...wrestling together, but not combining... How to catch a moment of that in 2 dimentions...That is the question and the problem....It is fun to try though.
I've begun a new series of abstract oil paintings loosely based on the interior color display in my mind's visual center as I was being exposed to the radiation treatment during my bout with cancer almost two years ago.
This first one was started over an old painting of a pear that was given to me recently with a stack of canvases that were salvaged from an abandoned storage space by my friend that manages that facility.
Yellow is one of the colors that predominated these experiences. So I used that first to keep it rich and pure before I began the other dominant color which is blue.
The shapes aren't meant to represent anything in particular...just letting my rememberance guide my brush. The show going on in my head during the radiation exposure period was like two liquids interacting in a kind of brilliantly lit dance together, without mixing together as pigments would, but constantly moving in and out of each other as liquid light. Like a Lava Lamp.
Continuing the shadow colors into the areas between the vines really defines the essense of the visual flow in this fairly simple composition. The shapes precede the colors of the grapevines so the perspective will be accurately rendered.
Stay in touch...
Mahalo & Aloha,
Timo
I underpainted the area occupied by the grapevines with a Naples Yellow Light to brighten the colors that will follow and then started defining the negative spaces between the rows of vines with a shadow inducing combination of Alizerine Crimson & Ultramarine Blue loosely blended together roughly half & half.
Lots still to do so come back soon and see how far it's come along.
Mahalo & Aloha.
Timo
A little more on the new Vineyard painting that I started a few days back...Visual information gathering momentum...The hillside beyond that at first appears to be the sky...A closer wooded hill almost totally obscured by the heavy morning mists...a wall and more trees emerging closer still on the left...
There is way more to come...!!!
Mahalo & Aloha,
Timo
Another painting session has brought London's Autumn Vineyard to this juncture. Much more to come on this piece...Stay tuned for all the changes that will bring this painting to the finish line!
Mahalo for stopping by,
Timo
I started a new painting on a 16" x 32" canvas of my own construction of an Autumn vineyard scene with the morning mist still hanging in the ravines from a photo that my friend London took. Much more to follow this posting...
Mahalo for seeing what's up.
Aloha, Timo
Another two hour painting session has brought it to this state. As I fill in the blank spaces with color, the various elements start becoming identifiable. Wood, Rock, Leaf, Water...
