From the Artist: I restricted my colors to the four and was careful with glazing the background after I outlined the squashes. I did not use black, but rather I made a Payne's grey out of the phtalo blue and burnt sienna. I put down layer after layer of wash... it was hard, not using frisket, which in hindsight, I should have! The colors on the subject are pretty close to actual and I was trying to show depth with shading.
From the Painting Guide: Without frisket it's a painting that must've taken a serious amount of concentration and brush control to not inadvertently go over an edge. The result, however, is spectacular; it's a fabulous, brooding dark in which the squash are spotlighted. My mind boggles at how many layers it took to achieve.
Things to Consider When Looking at This Painting:
Composition: Look at how the arrangement of the elements in this painting sweep your eye around the whole painting, how the strong curve of the green squash directs your eye back in. If that squash had been the other way around, it would've pointed your eye off the edge of the canvas, totally out of the composition.
Look also at the negative space in the painting. If you think the right-hand third of the painting is empty, wasted space, cover it up with a sheet of paper and you'll see how it in fact stops the squash feeling crammed in.
From the Painting Guide: Without frisket it's a painting that must've taken a serious amount of concentration and brush control to not inadvertently go over an edge. The result, however, is spectacular; it's a fabulous, brooding dark in which the squash are spotlighted. My mind boggles at how many layers it took to achieve.
Things to Consider When Looking at This Painting:
Composition: Look at how the arrangement of the elements in this painting sweep your eye around the whole painting, how the strong curve of the green squash directs your eye back in. If that squash had been the other way around, it would've pointed your eye off the edge of the canvas, totally out of the composition.
Look also at the negative space in the painting. If you think the right-hand third of the painting is empty, wasted space, cover it up with a sheet of paper and you'll see how it in fact stops the squash feeling crammed in.