it's all in the details

Light reflecting off the hand holding the 'painting' even some reflections on the staples and texture on the painted 'canvas edge' are added. Then the fence posts addressed, by begining to define them with shadows on the edges of the posts. rocks and other sand detail is painted in.
The potters hands are detailed and more texture is given to the surrounding sand. Each tine a layer of paint is added the depth is built up with the combination of tone and tint.
Now for the lighthouse and the hand holding it. While I wanted the hans doing the creating to look more ghostly, when comparing them to the one holding the painting, I wanted to add some warmth. The house itself needed to be defined by adding shadow under roof and porch. The tower gets darker edges blended in to create a round look.

adding details

The rest of the painting is done! I know it took longer than thought, but I have been crazy busy and not feeling my best. So with out more excuses - These may look the same but now it's all in the details. The top shows some color added to the hands added depth by putting down some darker shadows. More details in the water and sand and overall touches of tone to create shadow.
In the bottom I detailed the boats, paintbrush and the lighthouse before placing highlights on the hands. I know what your thinking, I shadowed them only to lighten them up? - well, yes. This is what creates depth and interest.

next step

Just a little holiday break in the action - and here is the next step in the 'back painting'. Now that all the canvas is covered in paint I will begin the real painting. I know that most people would say I had already, and I do put more detail in the under painting than I advise my students to. This is when I consider depth, form, and lighting.

more under painting

I tried to remember to take photos after each painting session. There is very little bare canvas left at this point, so I have begun some of the over painting as I fill in the under painting.

under painting

Now it's time for the under painting. This is to lay down blocks of color which will create depth when the actual painting is done. When I teach beginners to paint the under painting is usually just one tone at a time, but I generally put in some of the detail in the under tone as well. When the whole painting is complete none of the underpainting will be left without a coat of paint applied on top. Even though acrylic is opaque the under painting will effect the final result, unless of course you make an error, then you can add enough layers to over come the issue. - oh, by the way - this is a fair sized canvas, 18x24.

Sketch on canvas

So after many sketches on paper, I usually use pencil to start and then black marker to finalize the lines, it's time to transfer these to the canvas. Using a lamp behind the canvas and placing the individual sketches on the underside of the canvas, so the lines show through to the top, helps get the correct position and size. Once I have the lightly sketched pencil lines just as I want them, I again use marker so I can see the lines through the first stages of painting.

Composing a painting

So OK here it is :
Like I said I had some 'painter's block' and have not finished a painting all fall. Many of the concepts I had just did not pan out, so I have been thinking about the act of composing, rather than the actual composition. When I have a block I often look through magazines, books, old calenders, and my own photos in hopes they spark an inspiration.
Keeping in mind that I was thinking of composing in a very physical way, I decided to compose a painting about composing. A painting of creation - the photos show my inspiration pictures, hands creating and some sea landscapes. I liked the weather beaten fence in one and the color of the waves in the other, I will improvise a sky, not having found one I liked.
Next comes hours of sketching on paper to get things right. I needed to use my own hands for some poses. More pictures to come as I transfer the ideas to canvas :)