"Blood Oranges II"
6 x 8 in
Oil on Canvas Panel
Today I wanted to paint these beautiful blood oranges again but this time with a red cloth. As I've mentioned in previous posts I really enjoy trying to capture the texture of things, today was definitely one of those days were it tested my abilities to do so. From the wrinkles of the cloth to the soft subtle tones in the oranges and to the grainy wooden board. All of them unique in their own way but meshing well together. I was also able to mix my older approach to my new one of course shifting things here and there, for the most part I was pleased the way they worked together.
I started with the usual dry brush approach just using a bit of raw umber on the brush and no mediums. Once the drawing was established I painted the background and the back section of the red cloth. The colors I used for the background were ultramarine blue, titanium white and naples yellow. For the red cloth I used naphthol red, cad. red, raw umber and ivory black. When working in the cloth section I start by just laying in the values with their appropriate colors to match the hue. I keep the transitions soft and make sure to not have any hard edges, this is my beginning layer and want to keep it as thin as possible.
Then I start by adding the darker values and their specific forms, by doing this I start sculpting into the initial layer. Once the darker forms are about complete I then paint in the lighter values with their specific forms. By now I start to see the section coming to a completion, I start going back and forth from the darker values and pushing it to compliment the lighter values.
Then I repeat the same process with the red cloth in the middle ground.
Once that section is complete I then move onto the first blood orange. I start by painting the big form modeling in which the light is wrapping around the form. Laying in a close approximation were each value scale should go with the right chroma to compliment it. I also make sure to keep this stage of the painting thin, making sure the form is turning and it looks dimensional. The colors I used for this section were cad.orange, cad.yellow pale hue, naphthol red, raw umber and ivory black.
Once the big form modeling is complete I start to state middle to darker values with their specific forms. When adding the smaller forms in this section I am able to use the initial layer that I stated in the big form modeling stage, this helps my blends go smoother and quicker it keeps a unified look. It also allows me to go thicker and textured if desired to do so, it gives me the control i'm looking for within each section. Once that section is about complete I start on the lighter values and highlights. By the time I get to the end of this stage I am able to go back to the previous section, I alter some values and chroma's that I didn't notice when the lighter values were not painted.
I repeat the same process with the second blood orange.
Once the blood oranges are complete I then start on the on the wooden board. First painting the fall of light by keeping the values and colors generalized. At this stage i'm not looking for details just a generalized information of the light and color. I also make sure to keep this stage as thin as I can, doing so makes it easier to build layers and keep control. The colors I used for this stage were raw umber, titanium white, ultramarine blue, cad.orange, and ivory black.
Then I paint in the middle to darker values with their specific forms, I start narrowing in the smaller forms by adding its specific characteristic. I do the same when adding the lighter values and highlights. After this stage is complete I go back around and see if I need to push anything or if I've missed a certain part. I go back into the background and grey it down a bit, I thought it was competing with the foreground for the most part. Well this painting definitely was a longer one to explain with each of its intricate sections. It was so much fun painting them and also being able to explain each section, thank you for stopping by and viewing.