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This gallery contains 7 photos.
A trip to Soweto in 2014 (in Johannesburg) provided the perfect opportunity to collect subject matter to paint. Soweto is a rich environment where you can find a work of art in the making behind every turn. My husband, a friend of ours from the UK and I spent a morning on a formal tour taking pictures of everything. Here’s the finished painting:
Back in the studio, I poured over the 338 pictures that we took that morning. I decided to combine the following photo’s:
I compiled the photos on PowerPoint and started by drawing a grid. I drew the picture onto the canvass with a terracotta pencil (it doesn’t give off on the paint the way that graphite does).
The next step was to “fill in” the major parts of the painting, adding some dimension with darker and lighter areas where possible. In this step I figure out which colours to use and where I need to change. I included a different sign (Beauty Salon) at the top to introduce a bit more colour and interest. It’s crucial to keep the lines straight so that the composition is in balance at the end.
For the Coca-Cola sign, I painted the writing in grey first so that it would stand out against the white background. Then I painted the red around it – red is very difficult to paint over once it’s on the canvas. After the red had dried, I went over the grey with white again.
The next step was to put in the first layer of the two people. I changed the colours a little bit – the blue jeans to viridian green and the red t-shirt to orange to bring in contrast to the painting. With the first layer I already put in definition (dark and light) taking care not to go too light, because the highlights would be the last step.
I also saw that the top line of the roof wasn’t quite right – the left side was much lower than the right side (thanks, Carien for pointing it out!) and I fixed that as well.
During the next painting session, I added another layer to the sky and put in highlights for the clouds – I used Prussian Blue and white. When this is dry, I’ll add shadows with Payne’s Gray. I went over the yellow sign with Yellow Ochre as a second layer, and fixed the line of the roof. I then put in the highlights on the Coca-Cola bottle using Yellow Ochre, Burnt Sienna and white and lastly went over the white writing with pure Titanium white. I filled in the notice board in one colour (Burnt Umber with White) and then put in the details of the posters next to the door. The last step for this session was to paint the pictures of the burger and chips, dagwood and whatever that top picture is! I’ll wait for it to dry before I put in the red for the ketchup.
Next I started adding the details – the writing of the Beauty sign, the posters on the wall and the black board writing. I dry brushed the “blackboard” with white to make it look like the chalk writing had been rubbed out. I also used dry-brush techniques to create the inside of the shop by adding some fridges, sacks of flour and flourescent lights.
The next step was to put in the burglar bars in front of the two windows. I cheated a bit…I used masking take to get the bars equal and painted them over with white.
I added the details of the posters as well. When I looked at the painting, the ground looked too light and the porch too dark, so I changed it around. I also darkened the shadows that the signs threw on the roof because the photo was taken close to midday and the shadows (although not visible in the photograph) would be more pronounced.
The customer requested to, instead of the window (which I must admit, looked a bit overpowering) include a copy of a beer brand. I included a Carling Black Label wall sign, and thought that it came out quite well. It actually became quite the focus point of the painting.
Always on the look for interesting articles to paint, I raided my mother-in-law’s cupboard the other day and what interesting stuff she had! She gave me an earthen jug (which weighed a ton!) as well as a silver beer mug with an interestingly shaped handle. Back home, I compiled a still life incorporating “treasures” of my own – my silver candle holder and my red Chinese server. Coupled with some green bottles, a golden pashmina as a backdrop and a white rose it made quite an interesting picture.
The photo was taken with only the three candles and no artificial light to get a golden glow in the painting. I used a terracotta pastel pencil to draw the design onto the canvas because it doesn’t stain the paint like graphite does.
I started the painting with the background and focused on capturing the folds in the cloth. I used Burnt Sienna and Yellow Ochre for the dark bits, Yellow Ochre and Orange for the medium colour and Yellow Ochre, Yellow and white for the highlights. I realise that I made the dark bits too dark by using Burnt Umber (bad idea!) and re-did it later with Burnt Sienna – it looked less harsh.
On the second layer I focused on blending the colour better – usually on the first layer the canvas is very “thirsty” (most of the oil paint gets sucked in) and it’s not possible to blend enough. For the dark shadows I use Burnt Sienna (Burnt Umber in hindsight was too dark) and the highlights were done in Yellow and White. Notice the form of the draping on the right and the sharp corner. It was imperative to get this shape correct because it adds such interest to the painting. I also focused on ensuring that all the folds had a “logical flow” – that is, every fold has a beginning and an end – it cannot stop in mid-air!
The next step was to block in the main areas of colour in the painting and to ensure that all the white canvas was covered. I focused on getting the shapes correct and started putting in the details on the bottles and the glass. The bottle on the left (big green one) was tricky to get right because the left and the right sides have to be symmetrical. When painting man-made objects in whichever style (photo realism like this, or impressionistic) it is crucial to get the shapes correct otherwise it will look odd. The left side of the glass was also too round and I had to fix that. The bottle on the right (small green) was also too round on the right hand side and I had to bring that in.
I kept on changing the angle of the red table and it took a couple of tries to get it looking right. This was imperative for the perspective because it impacted on the angle that the viewer will see the painting. I added the reflection of the bottle on the left and the rose onto the second layer of the red table.
The rose is one of the focal points in the painting and I took a good hour or so to put in the details of the petals. The shading is very important to make the rose look real. I used Burnt Umber, Yellow Ochre and white just to block in the main areas of colour.
I also blocked in the candelabra just in grey (with a couple of darker accents around the shape.) The candelabra is NOT grey and with the next layer I added the reflection of the cloth and the objects around it. However, I wanted to get the shape correct, which makes it easier to put in the details. I also had to ensure that the shapes of all three the candle holders were the same and to achieve this, I measured it.
I dry-brushed the glow of the candles in white with a little bit of Yellow Ochre, but realised that it will need a lot more yellow on the next layer. I always take pictures of the painting rather than just relying on my own vision – it tends to show things that you might not otherwise see. My husband is also a great source for feedback – he is brutally honest and usually shows out errors and inconsistencies that I cannot see. It’s a good idea to ask someone you trust for feedback throughout the painting in order to improve it.
The highlights on the bottles needed to be done next. I used yellow and white to create the highlights. The candle holder I painted exactly as I saw it – using a lot of black, yellow, burnt sienna and being generous with the white highlights. The rose’s second coat used light green and yellow, the dark shadows were grey and the highlights white. The shape of the wine glass was a bit wonky (the right hand side was fatter than the left) and painted over it with burnt umber. The green bottle on the right got a second coat.
The earthen jug looked a bit too smooth while in reality it is quite rough. I used Burnt Umber and white and with small circular motions on the canvas “roughened it up” a bit. On the beer mug I made a thin wash of Burnt Sienna, Burnt Umber and Orange and used a very rough brush to create the marks on it. The final highlights were done in white and voila!
As an artist, I’m always looking for subjects to paint. A colleague of mine got married in November 2011 and when she returned from honeymoon, I asked if I could see her wedding photos. Obviously, I had an alternative agenda – she’s very pretty and I thought it would be lovely to paint her. Also, the wedding was traditionally Indian and I had visions of beautiful outfits in bold colours, which would be great to paint.
Well, I wasn’t disappointed! She showed me a beautiful photo of her in profile with a stunning red and gold veil, henna painted on her hands and stunning jewellery. I asked if she would allow me to paint it, and she agreed.
I printed the photo on a transparency and traced it onto the canvas with a terracotta pastel pencil. The terracotta shows up very nicely on the white canvas and it doesn’t interfere with the colour of the paint like graphite does.
I had to take a decision on the background – on the photo it is light, but I thought a dark background will make her face stand out much better. Decisions, decisions. I finally decided in a mottled grey/black background – darker on the left side than on the right. Time will tell if it will work.
I started on the first layer of the skin. I used flesh, made darker with Burnt Sienna and Burnt Umber, and for the lighter areas, I blended with white. The nostril’s dark colour was done with Burnt Umber and Alizarin Crimson – it makes a beautiful dark colour without being black. One of my teachers always said that the only thing on a face that is pure black, is the pupil. Good point.
The cheek had a decidedly red tinge to it, and I mixed Alizarin Crimson into the flesh colour. The lips were done with Alizarin Crimson and Burnt Sienna for the upper lip, lightened with white for the bottom lip. I did the shading of the chin and the background next to the neck with Burnt Umber. Two layers completed the skin.
Next, I tackled the veil/scarf. I used pure Viridian Green for the background behind the golden sequins. The dark red was a combination of Magenta red and Burnt Sienna, with black to give it a shadow. The blue/green patterns were outlined in a combination of Cerulean Blue and Viridian Green and filled it in with Yellow Ochre. I started building up the patterns as I could see them on the photo and focused on getting the patterns correct – the detail would come later.
Then it was time to finish the detail on the face and hand. I realised that the arm was too thick and made it thinner. The process of putting the detail in on the hand (fingers, knuckles etc.) took two hours. Initially I was concerned that the highlights on the fingers were too light, but I decided to wait until the veil colours were in before taking a final decision. It turned out to be fine!
The veil took a long time! I focused on putting in all the detail of the patterns. It was crucial to put in the dot in the middle of each sequince, as well as the thread binding them together. The henna on her hands was done in Burnt Sienna with a lot of turps.
The veil on the left of the painting is not quite in focus, so I didn’t put as much detail in there. When it was dry, I brushed over it with a thin wash of Burnt Sienna to ensure that it doesn’t stand out too much. I touched up the highlights a bit more after that.
I am very proud of how this painting turned out!
I love painting still lives. When browsing the internet I came across a photo of various foodstuffs and thought that something similar will make a great painting. I identified a couple of real South African products and my husband and I played around with a couple of options. We finally settled on the following photo.
I liked the combination of the colours (blue, red, yellow) and decided to make the apple green to create a contrasting colour. My teacher also suggested that I should include the Marmite reflection in the knife.
I started with the kettle and even in the first layer tried to get the shading right. It just saves time later when you need to add the details. The light in the photo is quite yellow, so I used a little Yellow Ochre mixed with white. The blue is French Ultramarine.
After that I did the writing on the Glenryck can and the Joko tin. I realised that the “J” in Joko wasn’t quite right and had to re-do it. In hindsight the writing on Glenryck was a bit too thick and I had to make it a bit smaller by painting red over it. The red I used is Burnt Sienna (for the darker bits) and bright red for the rest of the tin. The detail was very important e.g. see the thin yellow line around the tomato and the purple underneath the fish. The fish was done in Payne’s Grey mixed with white and I kept to the shape and shading to make it look as real as possible.
The Joko tin was done in Yellow Ochre and Burnt Umber, with white added to make the highlights.
I really had fun with the Marmite jar! I used Burnt Umber mixed with a little bit of Ivory Black – just plain black would have been too dark. The top of the lid is yellow, and the sides I darkened with a little Yellow Ochre. I outlined the “Marmite” writing in a 0/3 brush with very thin paint. The yellow sticker was a little darker than the top of the lid (mixed with Yellow Ochre) because it’s in a bit of shadow. The writing in white was just scribbled – it didn’t make sense to put in all the words exactly, but I think it came out ok.
I struggled a bit to get the colour right for the peanut butter jar. I started with Yellow Ochre and added bright red to it. That made it too orange and when I added white, it turned peach. Not good. I started again with Yellow Ochre and a little bit of Burnt Sienna and then white and that seemed to have done the trick. For the shadows, I added Burnt Umber and for the highlights white. The lid was done in red with Burnt Sienna for the darker bits and I added yellow to the mixture to get the highlights on the side of the lid. Again, the picture of the cat and the writing was done with a small brush and left to dry before starting the other colours. The detail (again) was important – notice the yellow shading around the cat logo. The highlights were done in white, through two layers – the first one the white was worked in while the paint was still wet, and then I put in the super-highlights over it in pure white.
The hilt of the knife was done in grey (white and Ivory Black) and again I tried to capture the shading. The rest the knife I just covered in light grey and then did the Marmite reflection in the second layer.
The cup of tea was a bit of a challenge. I had to get the colour right and again struggled when it turned to orange and peach. In the end I went for Burnt Sienna and Yellow Ochre darkened with Burnt Umber. I put in the first layer trying to get the shading right. I then let it dry and the second layer was dry-brushed on top of it. The secret with painting a see-through object like liquid or glass, is to paint exactly what you see. That’s the only way to make it look real.
The object I struggled with most, was the bloomin’ Joko tin! I just couldn’t get the curve of the lid quite right and had to do a lot of re-work to get the shape correct.
I then focused on adding the details on the Marmite jar and the pilchards, and kept on adding and cleaning up. Because these are man-made objects, they needed to be absolutely correct.
When I hung up the painting to dry, my son (6) looked at it and said “Mom, it looks real!” He couldn’t have given me a better compliment!