Painting Mom's Apron
A Demonstration
by
Oscar Durand
Phase One
|
The
first step is to arrange the items into a pleasing composition. Using a
round-tipped brush, I then sketch the items onto my canvas, using any
color that I wish.
|
Phase Two
|
This step is called an under-painting and it establishes both color and
composition. I use colors that are similar to the finished product. Oil
colors are transparent, to varying degrees, with the exception of white,
which is opaque. I build the painting, layer by layer. I allow each layer
to dry, or to nearly dry. Over each layer, I spray a small amount of
retouch varnish. This process helps to produce a very luminous effect. It
catches the light and forces it to bounce from the back of the painting to the
front.
|
Phase Three
|
In this step, I mix variations of three
primary colors which produces a variety of neutral tones. I then begin
painting from the back to the front, roughing in the strongest darks and
lights to help establish a feeling for the mood. |
Phase Four
|
Beginning with the stone background, I use a round-tipped
brush to apply the color. I also do some splatter work in order to enhance
the stone effect. To give the painting a three-dimensional quality, I use
softer colors in the background and stronger colors in the center of
interest. |
Phase Five
|
I
continue to work from the back to the front. As I paint the wire basket,
the coffee-grinder, the mixing bowl and the small tin, I use colors that
are a little stronger. Additionally, I paint the rear edges more softly
than their front edges, pulling these items forward and away from the
background, adding even more to the three-dimensional effect. |
Phase Six
Next, I concentrate on
finishing the table. I first apply a rough and very thin layer of slightly
tinted green, mixed with white, in order to establish the proper value.
While the paint is still wet, I mix tinted reds, oranges and yellows that
I apply over the wet greens. This completes the general color and tone
effect. Once the paint is dry, I apply thin glazes of pure color. I then
brush in lighter details to complete the table. Using three primary
colors, I paint the paper under the eggs much the same way as I painted
the background. |
Phase Seven
Notice how the colors
are generally warmer and richer that I used to finish painting the main subject
matter, which is comprised of the eggs; garlic; tomato; onions and
potato. By using these colors, I pull these items further away from the
background and propel them forward, further enhancing the
three-dimensional effect. Finally, I paint in the onion bag, using a delicate
reddish tone in order to play on the red tomato, consequently spreading
the red color to the right. This technique forces the viewer to
concentrate on the central portion of the painting first. |
Phase Eight
In order to create the light and dark tones of the white cloth, I mix
three primary colors together, using white to control the value and
tone; I then paint the rear section of the cloth first. |
Phase Nine
As I paint the rest of the
cloth, I continue to use the same paint combination that I described in
phase eight. I carefully adjust the lights and darks with the intent of
causing the eye to perceive that the cloth has been pulled forward from the
main center of interest to the front of the table. This completes the
three-dimensional effect. Lastly, I paint the lettering on the bowl. |
Phase Ten
You are now looking at the
finished painting. During this phase, I use a technique that I consider
the most important part of the painting process: I turn the painting
upside down. By doing this, it forces me to concentrate on the painting's
structure; color distribution; mood; depth; and its highlights and
accents. I use a glazing technique in order to lower the value structure
and to enhance the tonal quality of the background. Then using paint in
its more opaque form, I make the final corrections by adjusting
colors and values of lights and mid-tones. Notice how the background has deepened in tone; and how
I pulled the center of interest even further toward the viewer. |
Phase Eleven
The finished painting in it's 18ct white
gold, museum frame
|
