Painting in Progress 13-1-14

Detail, Marco Corsini WIP 13-01-14

Detail, Marco Corsini WIP 13-01-14

I have cleaned up the composition in the lower section of the painting and made some inroads into the lace. The painting is starting to look balanced and I like the colour harmony of the olive green and the pink of the walls. I have ended up using a very stable, almost single point perspective for structure of the walls and windows but retain a bit of a twist in the way the furniture sits. I am hoping that this combination helps the painting retain some compositional dynamism.

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Painting in progress 27-12-13

Painting in Progress 27-12-13

 
Painting in Progress 27-12-13

This painting is of another garden. It backs on to a freeway, hence the green wall in the background. It is almost complete and I have just been putting some final touches on it today. I have enjoyed working on a slightly more textured linen. I will now put it aside and come back to it to check over.

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Painting in progress 14-12-13

Painting in progress, Marco CorsiniI’ve continue to work on the garden still life, building up the textures and foliage. The composition is starting to become resolved and I have been able to leave some partially finished areas to create a contrast with the more worked up and finished objects. The ground area is virtually finished but there is a little more work to go on the brick wall, foliage and into the background spaces.

The leaves of the kumquat can be quite disorientating in that they seem to change from week to week. I had begun by building up lower layers of the darker shadowy leaves, some of which I partially scraped back. Now I am building the forms of the lighter closer and more brightly lit leaves. While painting them, the paint mixture (including medium) I was using became quite thick and syrup like. The thicker paint mixture was allowing me to thickly model the leaves over the thinner darker and lightly scraped back paint creating a contrast in technique. It reminded me of Rembrandt’s technique whereby I read that it is not really known how he mixed the thick paint that could retain the brush mark textures.

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