Monday, August 25, 2008

"Hot Sauce's Friends" 9x12 (Click here to bid on eBay)

I've painted two or three condiment trays over the last two years, one from a BBQ restaurant in Jackson Wy. and another from a cafe in Sioux City, Iowa. This one was from a little cafe in Hamilton, New York. Click on the image for a larger view.

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Blogger Carol H. said...

This is wonderful! I love the looseness of the paint, yet you still capture the scene very realistically. May I ask what your process is for painting? For instance, do you grid the drawing, or do you just start painting freehand? Do you use tools like a straight-edge to get the straight lines?

7:58 PM  
Blogger Amy Mann said...

Luscious! How do you get that quality from a photo?

8:01 AM  
Blogger Mona Diane Conner said...

This is one of those paintings where I marvel over how you make a mundane subject such a pleasure for the eye. I love how the sun and shadow works and how it drums up the experiences I've had in such a spot.

11:10 AM  
Blogger Patricia D Arndt said...

This is really nice. The confident brushstrokes in the larger view are great. I've been enjoying your blog

11:35 AM  
Blogger mick mcginty said...

Hello Carol,
My process is a very lazy one, but turned out to be really necessary since we have moved to the desert.
I travel to different locations and photograph as much as I can. In photoshop later, back in my studio I refine alot of my shots. I also adjust color and contrast and can even get shadows to open up in the Light/shadow correction tool. After adjusting, I also crop to the size of the panel I'm paining on which is the one thing that changes from painting true plein air. Out in the open air, the scene is all around you, and you need to crop into a scene your mind, or with another tool, to help from bringing in everything to your painting. When I crop, I get rid of all the tempting elements and I basically have a photographic image of my painting. It's up to me to just paint all the negatives where they should be, and all the positive elements where they should be.
I have the photo displayed on a 30 inch Apple display screen. The color is fairly accurate, but nothing like what the light would be like looking at the scene for real. I recommend this technique for cold winter days or hot summer months, and if you can get out to paint from life, that would be the best.
I paint directly from the screen without any grid system drawn out. The lay in sketch has always ben my most favorite part of any painting. The lay-in and the first 15 minutes of establishing colors and shapes is always the most fun. Some of the later deliberate brave strokes can be full of anguish, except for those few paintings when those strokes seem to flow off the brush easier. It helps to make confident strokes if the drawing or lay-in is accurate. When all the landmarks line up correctly and space relationships are good, then it becomes a matter of just mixing the right values in the right hue, and just laying them down.
I've had this life-long problem of putting in to much information or not putting on enough paint, but I'm slowly become more generous with the paint, and have learned to let a brush mark represent a shape or object instead of adding two three or four more strokes to define the object. It's a constant battle to not start rendering instead of letting the art of brushwork providing the interest.

Thanks for the comments and the questions, and thanks for looking at my work.


1:56 PM  
Blogger andrea joseph's sketchblog said...

I haven't been here in too long. STUNNING work, as always. Love this one.

3:02 AM  
Blogger Austin Maloney said...

I love this still life Mick. It is so interesting to see your style applied to this type of a still life. I hope you do more in this genre!


11:21 AM  
Blogger Don said...

Thanks for describing your process. It was wonderfully informative.


5:15 PM  

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