Final composition, toning the canvas, and a drapery challenge
Yesterday as I was preparing the final composition, I realized that the painting would be better served with a lower point of view. The sketches I’d originally sent to the collectors were from about a 45 degree angle, and the more I worked with it, the more I realized that a lower vantage point would give the painting a statelier, more settled feel to it. Additionally, it’s going to be hung over a fireplace, so at eye level or above, so this point of view makes more sense all around. I just heard from them that they like this change, so now I can proceed.
The picture above is the general composition of the painting. There will be a number of changes to that image, but it gives the overall flavor of what the painting will be.
This morning I toned the panel, which simply means applying a very thin even wash of paint. The tone eliminates the stark white of the linen, and also helps to unify the colors, even if it’s quickly covered up. I chose a tone which is similar to the color of the wall on which this painting will hang. It’s a subtle detail, but it will help ensure the painting sits well in it’s final destination. Specifically, I used Raw Umber and Transparent Yellow Oxide. I am so happy with how this panel turned out – it’s going to be a pleasure to work with.
One of the interesting challenges of this painting will be the folded cloth on the left. The collectors want it to be the same fabric as will be used in the draperies for the room. The sample they sent me to work with, though, is only about 16 inches square.
So, I’ve needed to establish the pattern of the folds with some other cloth, and then I’ll have to “graft” the pattern onto it. I’ll need to make a number of sketches beforehand to work that out.