"Mixed Tomatoes II"
8 x 10 in
Oil on Canvas Panel
I wanted to continue the play on colors with these delicious tomatoes, I especially wanted to have an array of colors with an interesting composition. The textures in their skin is extremely subtle along with their color shifts. I felt for the most part I was painting mini balloons, never painted balloons before and now have an idea on how to do so. With this painting I wanted to revisit big form modeling and implore that idea further. I've stressed in previous posts about the importance of big form modeling and with this posting I'll do the same. Playing with so many elements at once is challenging but delightful after seeing its completion from start to finish.
I started with the usual dry brush approach using no mediums and a bit of raw umber on the brush. Once the drawing is complete I state the general colors of the tomatoes all at once, I do this to get unity out of the group of, this also lets me create a base to move my paint around and have that unity from beginning to end. In this stage I am not concerned with big form modeling or details just the general flat color of the area. The colors I use for this section are cad.red, cad.orange, cad.yellow medium hue.
After the general stage is complete I then start on big form modeling, this stage I start adding different colors that help turn the form with its light. Still not worried about "details" or small form modeling just on how the form is turning away and into the light. It's important to state that this stage is crucial in order to have a successful completion to your later stages. I also stated the background in this stage to tackle the edges further. Big form modeling is essentially laying down all the ground work for you, the smaller forms later or the "details" will lay in perfectly if the big form is done right. With big form modeling I don't lay in the highest highlight or darkest value just a middle of the two to get the form turning. Then on the next frame you can see that I laid in the smaller forms with the darker values and lighter values. I like to break them up into two sections starting with darker then lighter values. These sections work just right with the big form modeling, of course there is some areas that need fine tuning in order for the smaller form model to work right, but for the most part big form modeling lay's out the blueprint for each section you'r painting.
Once the tomatoes are complete I then start on the wooden base by approaching it the same way as I did with the wooden base. First laying in the general colors and then doing the big form modeling or a fall light across the board. Again not worried about the grainy textures in the wood just on the general light moving across the form. This stage I am not applying the lightest or darkest values, I get close but stop since I add those details with the finishing touches. Then on the next frame I state the smaller forms by first applying the darker values with their specific forms. For this stage I used primarily burnt umber, raw umber titanium white, naples yellow and cerulean blue.
Once the darker forms are complete I state the lighter forms and take the wooden board to a finish. I can see after adding the overall value of the base that the tomatoes started to look lighter in the darker areas, which is normal if you add a darker element next to it. I went back into the tomatoes and darkened certain sections in order for them to work with the whole painting. I hope you enjoyed this one and really had an understanding of my concept when I paint. I appreciate you guys stopping by and viewing, till next time au revoir!