Unlocking Old Secrets II {Painting Progression}

"Unlocking Old Secrets II" {8x8 $495} © Rebecca Finch

“Unlocking Old Secrets II” {8×8 $495} © Rebecca Finch

While I’m working on the website facelift, it leaves less time for blogging, so this one will be shorter than normal. BUT I’m super excited about the new website look and I can’t wait to launch it!

Here’s a look at a different painting in the Unlocking Old Secrets collection. You can see the progression for painting III here.  If you didn’t catch the short story written just for these paintings, you can read the Fictionette here.

Enjoy a short slideshow and some explanations in the comments. Look for this painting to be available at West End Gallery’s Opening reception on May 1st.

Click on any image below to view the large slideshow.

Daniel Keys Painting Demonstration

Have you been interested in seeing the process of painting? Art enthusiasts and artists, this is the 1st video in a series of 6 showing Daniel Keys pulling a painting to an end. Enjoy for curiosity’s sake. Drink in for instructional means.

Want more?

Daniel Keys’ Website
Daniel Keys’ Blog 

The Direct Bear

I’ve painted this sweet little bear a few times, and have enjoyed each painting. He’s a reliable little prop when I need something simple for a quick study – which is the only thing I had time for, today.

Raspberry ©Rebecca Finch 2006

I love the raspberry colors and the rich halftones the lighting causes. The halftones I’m referring to are created when the angles of an object are turning away from the light source. Usually right before the darkest dark of the shadows is a deeply saturated color. That’s where I can get away with adding a punch of color – sometimes straight from the tube. What fun.

I started painting when the sun was on it’s way down, and knowing that I had very limited time, and I had a simple subject, I decided to bypass all preliminary drawing and go right into direct painting. So, my sweet, yet direct little friend was painted rather hurriedly.

It seems that the less time I have to dilly dally, the better and stronger my paintings turn out. I must get right down to business. I must get the values, angles and shapes right the first time, or the piece will be lost.

About an hour after beginning, the sun was gone, but I had enough of the subject and lighting established, so I pulled a lamp over to help me get the shadow shapes correct. I continued painting until my husband came home. (with a beautiful collection of bright orange lilies for me, by the way – how I’d love to skip work, tomorrow so I could stay home and paint them.)

The pattern had been left out, but at my husband’s suggestion I put it in loosely, and I’m very glad that I did. As Richard Schmid states, it does take two people to paint a painting. I need Ben to help me know when to stop, and what to add.

Maybe I can steal a few hours after work to capture the very strong lilies that are sitting in my kitchen at the moment.