6 x 6 in
Oil on Canvas Panel
This is the third and last painting in the series of limes and lemon, it was fun cutting the limes up and arranging them around the lemon. I believe the title fits this painting just right, especially the way the limes are surround the lemon. I was also honing down my technique with this painting, getting more narrow in the way I render with the brush. Concentrating more on the value relationships and how to model the form, its fun going back to the fundamentals and seeing how important they are.
I started with the usual dry brush approach for the drawing stage, just using a bit of raw umber on the brush and no mediums. After the drawing is complete I started on the limes instead of the background, reason I did that is because I've noticed I can control the edges better when I add the background later. I stated the general colors in the first passage, not really adding any darker or lighter values just a general statement of colors pertaining to the limes.
Then I start working on big form modeling, at this stage I start to add darker values and work with the lights in turning the form. Then I start to add the darker values and its specific forms and take that section to a finish, I do the same with the lighter forms. As you can see I worked on all the limes at the same time, I feel it has more of unity look to it when I do that.
When the limes are completed to that point I start on the lemon, first stating the general colors using thin paint and then work on big form modeling. Then I start on the darker values and its specific forms, I make sure I add all the colors that are in this value stage and take it to a close finish.
I do the same with the lighter values and its specific forms, after stating the lighter forms I can see I have to shift some sections in the darker values. Thats why I take the darker stage to a close finish so it gives me room to alter things if need be. As you can see the big form modeling stage is very important to get right, it lays down the foundation where the details will be stated. It has to work at that stage first before you start stating the smaller forms and its details. After the lemon is complete I start to work on the wooden base by stating the general colors and it's big form modeling, I'm not worried about details at this stage just want to get a general feel of how the light falls onto the form and the general colors.
Then I concentrate on the darker values and its specific forms, I do the same with the lighter values when complete with the darkest values.
Last but not least I state the background, and this is what I mean where I'm able to control the edges. I'm able to go around each object that meets with the background and control the level of softness or sharpness I want it to be. It's also fun leaving this stage till last, it's the quickest and really ties the painting together for that finish you'r looking for. I hope you guys enjoyed this one, thanks for stopping by and viewing!