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| "Cloudburst on Pennsylvania Avenue, 12x24 oil on panel |
This is the final version after I repaired the scratches suffered when the painting fell from the easel. Twice! It is also a more accurate photo so far as the color is concerned. By the way, I now wad up some tape and attach it to the back of the panel, pressing it against the easel as clumsy artist protection.
I have been asked by several people to describe my process for painting such a detailed cityscape. There is the word I want to talk about. The painting is detailed but then it isn't really. I will come back to that and explain.
Other questions; Do I do a detailed drawing on the panel first, do I use photos, is this plein air? No, yes and sort of. I do an on site drawing in a small 4x6 inch sketchbook which gives me a lot of freedom to walk around looking for images for paintings. Before I head out I scale rectangles on the sketchbook pages using an architects rule to accurately reduce the size and shape corresponding to the panels or canvas I plan to paint on. Then when something inspires me I draw the image in the rectangle corresponding to the shape I think it would look best in. My favorite drawing tool for these sketches is a ballpoint pen because they are fluid and great for continuous line drawings. I generally carry both a fine and a medium point pen.
I take digital photos for references that my quick sketch can't provide. Also in the field the camera is handy in the following way....For the painting above I used a photo taken from further back down the avenue near the National Gallery. On site I zoomed in on the photo to find the best composition and then moved up the street closer to my chosen image, stood in the broad crossing median Pennsylvania Avenue provides and scrawled out my sketch very quickly. Besides this process I sometime do small plein air paintings and then use them as studies for the larger paintings. That is for days I plan to stay in one spot.
Back in the studio I often do a color study in another, larger sketchbook using oil on paper. I did not do that for this painting.
So back to DETAIL. How much detail? I ask myself that at the start. For me, if I am doing a well known place such as Pennsylvania Avenue , I feel there should be enough detail so the important buildings are recognizable but not so much that they become architectural renderings. I do not use straight edges. I will rest a yard stick on the top of the painting to support my arm (like a mal stick) and paint my edges freehand. I prefer the edges to be soft rather than hard. I eliminate details that are not important. Windows should follow the perspective but you will notice they are not detailed. The busy traffic beyond the foreground vehicles are really splashes of paint dominated by bright headlights. Enlarge the image and you will see what I mean. This painting is about a moment on Pennsylvania Avenue and it is really the atmosphere, the light in the sky, the sparkling traffic lights and the reflections on the wet pavement all combining to create a special moment that can be related to emotionally.
I should mention it was not raining that day but I knew that is how I wanted to paint it. I studied traffic on rainy days here in McLean to know how to paint lights reflecting on wet pavement in the evening.
Lastly, I did not take progress photos of this painting but if you go to the menu on the right and go back to 2011 ( September and October) you can see the progress on another cityscape "5th and Waverly". The painting above was created the same way starting with the same color toned panel and major forms blocked in with a mid value, neutral color.
I hope this helps! If Blogger doesn't mess me up I will now upload a photo of that little 4x6 sketch made on site.
