Here are several photos in succession of the phases of the painting process of creating the oil painting “Rainy Moment 16 (Aurora Borealis in Rain”). Continue reading
Once I got the technique that I wanted to implement, it was time to tackle the full 18″x24″ blank canvas that I had been saving for this very painting commission, a painting inspired by my original “Autumn Rain.”
I used a lot more brushwork than palette knife this time around, and I applied each color, layer by layer, starting with yellows, yellow ochre-oranges, oranges, orange-reds, cadmium red, alazarin crimson, followed by a few dabs of yellow-green. I’ve included a short GIF below to show you some of the process, layer by layer.
When all is said and done, I’m very pleased with how the final product came out. This will be the first in a series of this style with different colors and “moments,” all on the same scale as 18×24. I’ve had the idea of doing this as a series for a long time now, and I’m excited to finally get started on finishing it! The sketches have been in my sketchbook for a few years, and it will be nice to bring them into reality.
I worked on the painting a bit more earlier today, and after looking at the painting, I was reminded that I needed to introduce a few more darks, and this time I wanted to add some solid darker red hues. I again turned the painting around a few times while working on it to balance the colors and shapes in the overall composition of this abstract painting.
After adding some darker neutrals to add some contrast and depth to the painting, I go back in with a lighter lilac mixed color and sprout some energetic bursts around some of the curves in the forms. There’s still even more to do that I have ideas to add to this painting!
As I continued working on this painting, to balance out the lighter, bold colors I’ve chosen, there comes a point when I must introduce a darker neutral to balance the overall distribution of values and hues in the painting. In this (Phase 7) I have added some textured darker-brown areas, lending themselves to aid in grounding the painting.
While I work on an abstract painting, either large or small, I will rotate and flip it around to view what the visual weight and balance is of each color and series of shapes and lines. In this particular Phase 6 of this series, I have also added in some more yellow-greens that I’ve mixed with a greater proportion of liquin, so that the layers appear more translucent, to be able to view the paint layers beneath.
In Phase 4 of this abstract painting, I have added some warmer salmon-orange lines to balance out some of the cooler colors I had added with the blues and greens.
In Phase III, I have added a third color, with small shapes and filling in a few of the negative spaces created by the lines after the paint’s watery texture caused some of the yellow to drip down the canvas.
Phase I is applying the first undercoat of a semi-translucent layer of a single color. This is the first layer that will often dictate the rest of the direction of the subsequent layers of oil paint. I will often apply the next several layers of color while the original layer is still wet, so that the coats of paint will mix with one another on the canvas. Phase II posted tomorrow.
Photo progression of the layers of paint used in the creation of this painting to be posted soon.