Making of a Painting 2

“Venice Gondola Ride”

This was a very personal project for me as it is from a snapshot of my daughter and her partner when they visited Venice. Being very fond of the picture (and of Venice!), and in my enthusiasm to put this moment to canvas, I overlooked my cardinal rule, “NEVER WORK FROM AN INFERIOR PICTURE!”

The picture was taken by the Gondolier, with a cell phone, and it was not set for the highest resolution. My mind was determined that this picture needed to find its way to my canvas and I didn’t realize the poor quality until after I had been “committed” to it. So for me, there was no turning back.

Throughout the process of painting this picture, I used over two dozen other snaps taken on the gondola ride, that would help me get an accurate vision of the surrounding area, coloring, lighting, etc.

The unfortunate thing about camera “snaps” is that if great care isn’t taken with angles, etc., it’s easy to get a distortion in the background, thus throwing off the perspective. As the gondolier was focusing on the two people in the boat, and probably very little else, the background and surrounding wall were out of proper perspective. So, my first challenge was to correct this, and it proved to be a rather lengthy and labour intensive exercise!

…Once the drawing was completed, it needed to be transferred to the canvas using graphite paper…

(Completed transfer of drawing onto the canvas.)

(Close up of portion of completed transfer to canvas.)

…After the transfer is complete, the drawing lines are then gone over with acrylic paint to “fix” them…This is important so that if I have to take paint off to correct something later, I will not lose my original drawing…

…A light acrylic wash is then put on to get rid of the stark white canvas, enabling tonal values to be judged more easily…

“Color adjustment photos (to right of canvas)”

Color Adjustment

At this point I have to figure out the color scheme of my picture. The coloring of the original photo was too dark and orange toned to be natural.

I did what image adjustments of the photo that I could on the computer, and had 3 different color schemes printed out, but in the end, most of the coloring, especially for skin tones, was taken from other snapshots (selfies) that were taken on the ride.

I used the colors as they appeared directly from the computer screen, which looked more natural, rather than the printed versions, as the printed pictures seemed to mess up the colors. (Perhaps software to sync the computer screen colors to the printer would be a good investment!)

The next step is to start blocking in the colors with oils, starting with the darkest colors and progressing through the lightest…

As this is also “day 1” with oils, and blocking in is part of the oil painting process, I will forego the tedious details and present a gallery depicting the progress of the painting and identify the image in terms of days since starting to use oils.

I would also like to point out that I am using “dream canvas” (which is made from a patented, nylon coated fabric), and I need to always be cognizant of how much paint I am using, as the “tooth” of canvas is very fine .

(Click on image for a slightly larger view)

It took 97 days from the time I picked up my brushes and loaded my palette with oils, to completion. Because I had broken my cardinal rule, it took an additional 4 months to prepare, to get from conception to the transfer of the drawing onto the canvas.

It was a labor of love, and probably one of my most challenging endeavors…Worth it?…Absolutely…Would I do it again?…Not without the proper photo…. The completed “Venice Gondola Ride”

Venice Gondola Ride Finished and Framed

Just an aside…my audio companions for this project were: Joe Bonamassa (An Acoustic Evening at the Vienna Opera House; Live at Carnegie Hall – An Acoustic Evening; and Live from the Royal Albert Hall), Gino Vannelli (Live in LA), and, for occasional variety, the local radio station. And no, I do not get royalties for mentioning them…Ciao.

“First Prayer in Congress” 

This was a commissioned piece which was documented for the benefit of the client, who resided many thousands of miles away, and wished to follow the progress unfold.  This is an option which I offer in any major piece of work.

The original painting was done by T.H. Matteson  in 1848 depicting the historical event of Sept 7, 1774 at Carpenters Hall, Philadelphia, Pennsylvania.  Apparently the original painting was destroyed in a fire, with the only evidence of its existence being a black and white lithograph. There have since been several attempts to add color to this lithograph with varying degrees of success for a pleasing outcome.

My patron desired that a new painting be done in the full richness of colors and style, that T.H.Matteson would have used.  He supplied me with the best version of black and white lithograph he could acquire along with a few other resource materials that could be useful regarding the picture as well as the artists style. From there I researched the subject matter and artist until I was satisfied that I had a good knowledge of what I was about to undertake, and the style, and color palette the artist preferred to use. (This is generally consistent throughout an artists career). I also resourced other painted pictures of some of the more prominent people to get a good grasp of what they looked like.  The men in the painting are all known political figures of the time, such as George Washington, etc.


So here is the process I use… …The Making of a Painting…

1) I always draw out my picture on paper first and work out all the details. This really is the most crucial part of the picture. If there is a flaw in this initial accuracy you will not end up with the professional picture you desire. This cannot be over emphasized.  THE DRAWING MAKES OR BREAKS A PICTURE! This IS the most important step in a realistic painting.
2) When I feel t it is perfectly accurate I will then transfer this to the canvas.  I use transfer paper for this job.  This is a lesson in patience and perseverance.  In this particular piece of work the transfer would take a good length of time because of the detail.   Once I’m securing the picture from any movement, the job must be completed without break.  If my picture were to slip for even the minutest fraction then I would have to start over.  It also helps to use a colored transfer pencil so you can keep track of which lines have already been covered.  Needless to say by the end of the session your hand and arms are pretty much done for the day!
Securing the lines
3) Once the transfer is complete the next step for me is to make sure I won’t lose the lines when I start painting. If for any reason I need to remove any paint I want my original drawing underneath.  So to secure the drawing I go over every line in an ochre or umber color using acrylic paint.  Using the permanence of acrylic here will make sure that I NEVER lose the lines even if I have to use turp to adjust some oils later. It also dries very quickly so you can continue with the picture.
Underpainting wash
4) The next step is to do the under painting . This is a “wash ”which will set a “tone” for the overall picture) and block in my chosen color palette. This is done with thinned down oil paints.
Adding deepest values

5) Next I start adding the deepest values. These would be the darkest aspects of the picture (including clothing, furnishings, etc.)

Progressing with Shadows
6) I can now start with the richer color palette I’ve chosen for the objects in the picture and start to define more form. As the color to this picture will be totally up to me as no one really knows what the true colors were in the original picture, I will be working out some of  the details of this as I go along, always keeping in mind other paintings done by the original artist.
Floor and shadows on the floor

7) I’ve now started to work on the floor and Shadows on the floor, working my way down to the bottom of the canvas.  More color is added to podium, fringe of curtains and more definition to stockings and shoes. Type within this text.

8) In this picture the wall got some attention, I’ve adjusted the color of the far table but most importantly is the painting of the faces.  This is very detailed and time consuming for me, and I will spend a lot of time with this area, getting it “just” the way I want  “them” to look!  There are 36 figures in the picture with 29 needing facial features!  I have also spent time here  defining Reverend Jacob Duche’s robe

9) I will keep working on faces, adjusting colors and adding highlights until I feel satisfied.The highlights to the curtains and tablecloth are now in which changes the overall look and the shadow of the inner wall has been added. Details to clothing has also been done.I worked on this picture for approximately two months and had many gruelling eight hour days. This is a long time to hold a small paint brush in your hand to do detailed work. But it’s this kind of detailed  work that I love. It defines who I am.

“First Prayer In Congress”
It was my pleasure to be asked to bring alive once more, in painting, this  historical event. The finished painting is in private collection in Texas. Beautiful prints were made and I’m fortunate to have one as a reminder of the work that I love to do and the satisfaction that it brings me.
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* Just thought I’d mention, my musical companion for the two months it took me to paint this picture was Rod Stewart’s “The Great American Song Book” ~