help with backgrounds
Richard Budig
you paint them in, how they affect the painting, simultaneous
contrast . . . stuff like that.
I paint in oil -- portraits, mostly -- and I have slowly evolved
to where I tend to paint in (read that, "rough in") the clothing
and background . . . anything that will affect the flesh tones.
I still try to stay with the idea of working from dark to
middletone to light. But, I often have a problem with
simultaneous contrast when I stick to this religiously. Often
(depending on how the subject is lighted, of course) the subject
will have a dark side that is darker than the background. After
painting in the darks, and sometimes middletones, and then going
to the "middletone" background, things change so drastically that
I've had to go back and repaint my darks -- or should I say,
readjust my darks and some of my middletones. Over time, I've
found it almost as helpful to wait until I've roughed in the
approximate color/value of background and clothing that comes
next to flesh, and then start on the flesh. It seems to save me
that trip back to readjust.
I'd also like to know how you arrive at the proper background
color. This isn't such a problem when painting from life, but if
you've ever tried to "make something" out of a weak photo, or
some other form or facsimile of likeness with a non descript
background, it can be quite frustrating. For example, I recently
completed a portrait from a photo in which the background was a
weak yellow, which I felt would fight with some of the lights,
and would dilute some of the ochre tones in the flesh. I
arbitrarily changed the background to the same light value, but
in a misty, non intrusive bluish gray, which I felt would help
bring out the warm tones. It worked fine, but sometimes, I'm not
that lucky. I'd like to hear ideas for selecting backgrounds
when there is "nothing to go on."
Thanks
Dick
--
The first thing we do, let's kill all the lawyers. (Shakespeare)
Caren
color. http://ckeyser.freeyellow.com/index.html
I paint in acrylics so the technique is just opposite yours. It is more
like water color to start, only you paint in the white. Still, you do not
work dark to light. Once an area in acrylics is dark it is difficult to
make it light again.
I started out with a pale yellow canvas and brighter yellow in the
background. Then somewhere along the way I decided to make the background
pink. Actually I think I was just bored with yellow since I had recently
done another painting with yellow background. I declared the "pink"
painting of banana trees was done in spite of my dissatisfaction with it.
Later I was looking at some family photos which included the unfinished
"yellow" banana trees and I realized that I liked it much better when it was
yellow.
"Simple" I said. "I will just repaint the background yellow!"
What did I get myself into! The choice of colors is driven by the colors
already on the canvas. Apparently the "pink" look had permeated the entire
canvas. I ended up repainting the whole thing so it would work with the now
yellow background. Pink and yellow do not share the same companion colors
well. Had I realized how much work was going to be involved I would have
just left it pink. Just because I wasn't especially fond of it did not mean
others would not like it.
I think part of what happens when you change a painting is that you still
carry around in your mind the colors underneath the present colors. Other
people don't see it but it still lingers there in your mind, like a second
sight. When mine was pink I was haunted by the yellow underneath. Now that
it is yellow I am haunted by the pink underneath. In a few years I will
likely be able to see it for what it is. Meanwhile it sits at the back of
the stack so I can't see it.
I am sure anyone who does not paint will not appreciate my story but since
background colors trouble you I thought you might be interested in my
experience.
"Richard Budig" <bro...@ix.netcom.com> wrote in message
news:39C0F0B2...@ix.netcom.com...
> I'd like to hear was you have to say about backgrounds -- when
> you paint them in, how they affect the painting, simultaneous
> contrast . . . stuff like that
--
Caren Keyser
Keys...@go.to
"Richard Budig" <bro...@ix.netcom.com> wrote in message
news:39C0F0B2...@ix.netcom.com...
Caren
Sharon Barcone
"Richard Budig" <bro...@ix.netcom.com> wrote in message
news:39C0F0B2...@ix.netcom.com...
> I'd like to hear was you have to say about backgrounds -- when
> you paint them in, how they affect the painting, simultaneous
Just a few ideas that come to mind regarding your post, start with the idea
that the background is never the subject. Most backgrounds will work best if
slightly grayed. When working with nothing to go on decide whether your
subject will best be served with a warm or cool background. When deciding
value think of mood as well as balance. Often a light haired subject will
look better against a dark background and vice versa. Decide if your subject
will be better served with a complimentary or analogous relationship from
the background.
Starting with those ideas in mind will not help you make the decisions
needed to complete your work but will give you some ideas on how to proceed.
The next step would be to make a few thumbnail painting sketched. Try a few
different color combinations based on the ideas about. This should help you
to make the decisions about what best serves your subject.
Finally, one of the aspects of oil is that it lends itself quite well to
making adjustments to color and value. Even the best artists often go back
and make adjustments and I think this is a good thing, not necessarily
something you should try to avoid.
sharon
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