February 3rd, 2012

Darger

Intermediate oil painting: fourth week

We are continuing to work on the Venetian painting we started last week in the style of Canaletto. Last week we did the roofline and established basic building shapes. (See picture below. I recognize the big white painting on the left looks like it's falling in the water, but I was told we'd fix that when we paint in the sky next week.)
Where I started
Aim tonight: middle tones and shadows. The shadows aren't just a direct representation of the shadows: you may need to put shadows under bright bits to make them pop out more.

The paint colors are: raw umber, burnt sienna, yellow ochre, violet (as useful for shadows) and Prussian blue. This is a thicker paint to lay on top of the base from last week: 3 parts turps to 1 part oil.

When creating the palette, first do colors that match the look of the building in sun then dull it with opposite color on color wheel to make its color in shadow - neutralizes the color. (See as an example the yellow building on the left side of the Grand Canal - an ochre flattened with a bit of purple.)
A bit more of the buildings are now painted in - adding shaded colors

Suggestion: paint with two colors on your brush at a time (a Canaletto effect). (If you look at my final painting, you'll see this in the gondola poles, near the bottom of the picture.)

For figures, do the dark first (as he did). Use Mongoose brushes - hogshead would scrape all the color off, sable too soft. We will do highlights next week.

Prussian blue and umber - add windows, roof lines. Red buildings with burnt sienna and a bit of crimson. (I used a violet mixed with white to become a pale grey and used this to sketch in the top of the dome as well as the Peggy Guggenheim.)
Notice the purple dome and the blue of the water
Water: prussian blue, ultramarine, raw umber.

Giorgio Maggiore: burnt sienna ,ochre, violet.