Communion - A Work in Progress

Today I am not leaving the house except to go to the barn and do the chores. It is one of those days with a strong wind, where the weather is going to give us a little of everything from sun, clouds, rain, freezing rain, ice pellets, snow and back again.

I have spent a fair amount of time working on last year (see posts on 09 May, 18 July, 02, 09, 19, 23 and 30 August, 13 October and 15 December 2016) and I hope to have the water decanter finished today.

Before I started to paint I needed to fix the shape of the right side of the decanter, it just didn't look right.

With greys made of French ultramarine blue and burnt sienna I started at the top of the decanter adding the grey shadows on the spout, then worked my way down through the neck of the decanter.













I touched along the outside edge of that I had corrected and then filled in the areas of the main body being careful to leave areas of white highlights before I worked my way up the handle. Lastly I added the grey to the base of the decanter and into some of the water.

Using new gamboge with a little raw sienna added, I put some colour showing through the glass from the plate onto the handle and in the main body of the decanter.

The wood showing through the water was added with a mix of burnt sienna and alizarin crimson. French ultramarine blue was added to this mix for the wood that was in cast shadow.

I will post this painting again at a later date once more work on the plate has been completed.

Communion - A Work in Progrress

It is 10F (-12C) and with the wind chill it feels like -6F (-21C) and snowing. I have no intention of going out today so I want to try and at least finish the goblet and do a little work on the water decanter on this painting that I have been working on for quite a while (see posts on 09 May, 18 July, 02, 09, 19, 23 and 30 August, and 13 October 2016).

Starting with a very dark mix of French ultramarine blue and burnt sienna I put in the darkest black on the goblet first and gradually lightened the colour for each value of grey needed to for the goblet, the water in the decanter and on the stopper at the top of the decanter.

With a pale wash of alizarin crimson I indicated the reflection from the wine decanter onto the goblet and in the water of the second decanter.













Using a pale wash of burnt sienna with a touch of raw sienna I put in the reflections from the wood panels of the walls onto the goblet and the stopper of the water decanter.

Next I added small touches of new gamboge, French ultramarine blue, Antwerp blue and raw sienna for the rest of the reflections on the polished silver of the goblet.

I will post this painting again once I have completed the water decanter.

Thank you for coming to look at my artwork.

Communion - A Work in Progrress

I picked this painting (see posts on 09 May, 18 July, 02, 09, 19, 23 and 30 August 2016) and I will begin working on the second decanter today.

I mixed a greyed brown of French ultramarine blue and burnt sienna and started to put the reflected colour from the wood panels onto the water decanter. After starting with the top of the stopper I decided that it was not the day to work on a lot of clear glass.

Next I started to work on the plate behind the challis since I already had browns made with burnt sienna and French ultramarine blue. I started laying in some of the areas of reflected wood, but before I went too far I realized that I had to place the reflections in the plate from the water decanter on the left side.

So I started on working on the plate to the right side of the challis and came up with the same problem of the reflection from the wine challis.













Since I already had some of the brown paint mixed I started placing some of it onto the silver challis on the base and then started with some of the reflection in the bowl part but, I was not to complete the challis running into the same problem on a larger scale. I had not only both decanters reflected into the cup but also the tray and wafer box.

With still not being able to get into the painting I decided to stop before I messed it up. However, I still wanted to do a little more work on the painting.

So instead of using paint, I lightly indicated in pencil the different areas of reflections on the challis, plate and the highlights on the decanter.

I will post this painting at a later date once more work on it has been completed.

Thank you for taking the time to look at my artwork and I hope you will return often.

Communion - A Work in Progress

Today I wanted to do a little the more work on this painting to at least get the decanters finished (see posts on 09 May, 18 July, 02, 09, 19 and 23 August 2016).

Now it was time to start painting in the wine to complete the first decanter.

Using mixtures of new gamboge, alizarin crimson, raw sienna, burnt sienna and French ultramarine blue I started below the front edge of the wine in the darkest area and as I worked down toward the bottom of the decanter the colour lightened slightly and become more dark amber and the areas of reflected colour from the plate and a few reflections from the lights were left untouched.














With a slightly more red mix the top surface of the wine was painted in leaving areas of colour where the plate and lights were reflected onto the surface. The area to the left side had only a pale wash of alizarin crimson on it with a few spots of pure white showing the reflections from the lights and the silver goblet.

Now that the wine decanter was completed it was time to take a break and I will post this painting again once I start on the water decanter.

I would like to thank long time collector Mme. Cecile Desrochers of Ste-Ramon, Quebec on her purchase of Dixon Cove Wreck I and II (see posts on 23 April, 22 July and 27 November 2012).

Thank you for looking at my artwork.

Communion - A Work in Progress

Today I thought I would do a little more work on this painting that I started earlier this year (see posts on 06 May, 18 July, 02, 09, and 19 August 2016).

I started with the wine decanter and put in the edge of the tray that would show through the clear glass. For this I used mixtures of raw sienna, burnt sienna and French ultramarine blue.

With burnt sienna and French ultramarine blue I started to add areas where the background panelling was showing through the glass.

Using various mixtures of raw sienna, new gamboge and burnt sienna were used for the reflections on the glass of the brass plate.













At the bottom of the decanter the white cloth showing through the glass was put on with French ultramarine blue and burnt sienna.

Using a pale wash of alizarin crimson I indicated the darkest areas of the wine in the decanter and then put in the reflected colour of the wine onto the cloth.

Next I mixed a large batch of a warm dark colour using French ultramarine blue, alizarin crimson and burnt sienna which can also be paled down to a warm grey by adding water.

First I put in the areas of the darkest colour starting at the top of the stopper, working down through the handle and finally, gradually completing the empty glass to where the edge of the tray showed through the decanter.













Adding more water to the dark mixture I started at the stopper once again and worked my way down the decanter the same way as I did for the darkest colour being careful to leave the small areas of white paper showing through for the reflected light.

Below the edge of the tray I put in the white cloth that shows through the glass just above the wine.

I will post this painting at a later date once I have completed the wine decanter.

Thank you for taking the time to visit my blog and look at the artwork.

Communion - A Work in Progress

With it being hot 86F (30C) and humid 98F (36.7C) today I wanted to do a little the more work on this painting to at least get the decanters finished (see posts on 09 May, 18 July, 02 and 09 August 2016).

First I wanted to complete the wood grain on the panels and I mixed various dark colours using alizarin crimson, French ultramarine blue and burnt sienna.














Next I removed the rest of the masking from the plate, decanters and the handles on the tray.

With French ultramarine blue I painted in the shadowed areas in the cloth in the tray leaving some areas lighter to indicate the light going through the glass decanters.

To complete the tray I used various mixtures of raw sienna, burnt sienna, new gamboge and French ultramarine blue to paint the brass handles being sure to leave the small highlights the white of the paper and paint the cast shadows from the decanters and goblet onto the sides of the tray.














Using mixes of new gamboge and aureolin I put in the bright areas on the plate and the reflected colour on the decanters and on the wafer box.

To give me an idea of the how light or dark I wanted my colours on the remaining pieces I put in my darkest dark which allows me to see which areas need to have the highest contrast.

I will post this painting again once I have completed the plate.

Thank you for taking the time to visit my blog and look at the artwork. I hope you will return often.

Communion - A Work in Progress

It is another nice, bright and sunny day, although the heat 88F (31.1C) and humidity 95F (35C) together with the lack of rain are causing drought conditions with crops failing and a total ban on any kind of fires.

I wanted to do more work on this painting that I have been working on for a while (see posts on 09 May, 18 July and 02 August 2016).

I used a mixture of French ultramarine blue, burnt sienna and alizarin crimson and painted the shadowed area beneath the table and to the end of the wooden panel with vertical strokes varying the lightness and darkness so it was not one solid mass.













Adding more water to the mixture to lighten the colour slightly, the shadow colour was painted in from the right side to the left side of the painting as far as the last quarter of the collection plate for the shadows cast on the wooden panels on the wall.

More water was added to the shadow colour and the last panels on the left side were painted in, varying the colours on the wood.

I removed the masking fluid from the cloth in the tray, from the bottom of the decanters and the goblet.














A dark mix of French ultramarine blue, burnt sienna and alizarin crimson was used to paint in the shadows on each side of the raised panels and along the top and bottom edges of the boards on the wall.

Using the same dark colour I painted in the wood grain patterns on the horizontal boards.

Then I indicated the wood grain into the shadowed area below the table.














Still using the same dark mix of paint I started adding the more detailed wood grain patterns into the shadowed area of the background.

Once that was done I started adding the wood grain patterns into the sunlit side of the panels but ran out of time before I could get it complete.

I will post this painting at a later date once I have finished putting the wood grain on all the panels.