Its important to get the proportions right.
But details doesn't matter, they will disappear anyway when putting on color, so its a waste of time.
Also the perishables will be replaced when its time to paint them, a week from now.
So when drawing them I just tried to think about the overall design but not being very particular with articulation.
This is the 2nd stage called dead coloring.
It is one flat color for the lights and one for the darks.
The reason for this stage is that you want to fill the whole canvas with color and values so that you can start doing qualified decisions later in the painting process.
I did also model the pot instead of just putting one flat color. Just makes it easier, jumping a step.
I painted a high chroma mixture for the onions. It's easier to darken and lower the chroma later, than raising it.
Hi! wonderful to see your work and progress here!
ReplyDeleteMay I ask you a question, if you don't mind?
When you paint a figure in color, did you use the same approach that in the still life? fill in with a flat color for the lights, one flat tone for the shadows, and so on?
Hey!
ReplyDeleteActually for the light part of the figure, we create a transition of value from darker on the sides to lighter in the middle, to create a sense of form.
I did the same thing with the pot in the still life. Since it is a round object.
I will post a picture of the figure in a few days that hopefully will explain this further.
Thanks for taking the time to answer! It's really appreciated!
ReplyDeleteThat transition of value in the lights would be the big form modeling, or not yet?
I would love to see some process shots of figure painting! Your comment about color (adding yellow ocher) is quite interesting