"Conversations," 10" x 12", acrylics on a Raymar panel, depicting a collection of vintage doll heads, complete with sleepy and not-so-sleepy-eyes. Study done in class, intended for learning purposes only.
I'm stepping outside my comfort zone, learning about lighting and still life setup, along with a little paint pushing, from none other than colorist Vianna Szabo.
Here's today's lightbulbs:
Nothing created in a workshop is intended for a wall. Or an exhibition. Perfect example: I am not terribly pleased with today's painting, but I am delighted with all it taught me. (That little magical spot between all three heads? it makes me giddy!)
Design is of primary significance. The idea should come before the object(s) is/are even placed. (Me thinks this is the difference between a portrait of an object and a still life).
Value takes precedence before color. A big challenge for me. Huge.
The strongest paintings have the fewest values. Thusly one should reduce their concept to a simple 2-toned thumbnail prior to picking up the paintbrush.
Oreo cookies are the best analogies for identifying abutting forms (traditional oreos, chocolate creme ones, and vanillas). And all this talk during class about nothing but Oreo cookies makes my tumbley grumbley.
Thanks, as always, for following along with my artwork!