Been snatching time here and there to complete this in time for the oil to dry and get it framed before the Grimston Art Celebration date. ... but this is as far as I have got : Developed the background panelling, arches and curtains, extra layer to the lilies and toned down the cool colour of the marble font and base while warming up the floor in contrast. In other words another coat all round including softening and smoothing the walls and pillar. Began last night to add the detail to the font cover, but needed a break and daylight. Wish the length of the canvas didnt have that perspective narrowing to the top when I photo it.
6 comments:
Looking good Joannie.
Try lying the painting flat on the floor and hovering over it to square it up when photographing it.
Thanks for tip Anita - its what I always do for WORK THAT IS DRY!!!
As you know I am using oils and Michael Hardings take a long time to dry so in the process I get it everywhere and darent lift it off the easel!!!!!!!
This is looking fantastic, Joan!
For easel pics, I tend to lower the painting down a little and move it to an upright position (not slanted as you would normally have it on an easel). I then hold the digital camera at a slightly downward angle to take the photo. Hope that makes sense. For the most part, it seems to work okay for me.
Thanks for the advice Serena. I'll give it a go next time. Ive ruined so many clothes getting oil paint over me when Ive touched the canvas I needed a 'trick'. Ta.
Joan, can you hold your camera at a forward-tilted angle so that the perspective problem doesn't occur, or would this create reflections on the wet oil paint?
Love the format, and your choice of colours looks yummy.
Thank you for keeping an eye out for my blog posts. I appreciate your comments there!
Thanks Emma for another trick to try to resolve this photo problem - then the original answer is dont paint such a long thin format!!!!!!
but I always will when its appropriate to the subject because I love it. Still working on the carved cover - its driving me mad with the variety of tone in the wood.
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