Wednesday, September 8, 2010

Study #100908-8x8-SOLD


thought i'd show you the scene and how i blocked it in a la Cape School.

The grass is the darkest and coolest light shape and therefor a reddish orange. the house in shadow is the lightest shadow shape and gets underpainted a medium blue-purple. the sky is coolish so i did it in the right value of magenta (pink actually). the shadow under the cottage is the darkest and coolest and i painted it dark purple.
after this is put on thin using lots of Liquin, i go back over all these shapes with a color that more closely represents the actual thing youre looking at. work on the shapes that are the most out of whack first. on the last pass you fix the edges, values, hues, and saturation.
alot of students ask me "how do you know when to stop?".
thats easy! you stop the minute youre not making big improvements to the painting that please you.


DGehman said...

Ok, now I've confused myself. In your Impressionist Beachscapes DVD (easily one of the best art instruction DVDs I've seen), you put cool under cool, warm under warm.

Here, you put warm under cool, cool under warm.

How do you decide which of these strategies to use?

mike rooney studios said...

dave- i put blue and purples (cools) in the shadow shapes and red, orange, and yellows in the sun shapes. same as on the dvd. hope that clarifies. thanks for the nice words about my dvd!

Catherine Olander said...

Mike - hope you've been doing well. I painted a beach house last weekend using the warm/cool technique. I know I don't do it exactly right and my values and colors are probably all off but you can check it out here: if you get a chance!!
- Catherine