Venice, Italy Finished

Much has happened since I last posted the step-by-step process for this painting. Actually, I got so caught up in the painting, I never stopped to photograph the work as progress continued. Nevertheless, here is the final result. This was truly a labor of love. After blocking-in the water and surrounding features, I started to add some of the key features. The gondalas/gondaliers and their passengers were a lot of fun. However, the rendering of the couple in the gondala to the left (who, by the way is the good Dr. who commissioned this piece) proved to be a challenge. The hairs on my brushes weren't cooperating as I attempted to paint his mustache. It kept coming out like Cheech of the Cheech and Chong Comedy Team. Painting a head the size of a finger-nail can be a little tricky. I finally came to terms with the fact that I need only create a resemblance not the Mona Lisa.

The other gondala has one passenger. I thought it would make a nice contrast. The couple on the left obviously in bliss while the other carries a lone passenger; leaving the viewer to complete the story however, he/she chooses.

Towards the end, I added some reflections of the buildings and columns in the water. I then applied some impasto strokes with both my brushes as well as my pallette knife. At this point, I find it hard to stop painting. I look at the painting from different distances as well as with different lighting to see if anything jumps out at me calling for additional attention. It's time to let go of the piece and prepare to say goodbye to something you've worked so diligently on. The client is very happy with the final piece which is the ultimate goal. Knowing that your work will be enjoyed for centuries -to -come is perhaps the most fulfilling thing an artist can hope for.

Venice, Italy 6

At this point I'm ready to start a "Still Life" painting. Drawing and redrawing with my brush, while trying to hold true to it is starting to make my eyes cross. The only thing keeping me sane at this point is periodically stepping back and viewing how things are starting to come together. When I paint, I don't paint objects. Instead, I paint abstract shapes. I don't see a window, flag, building, etc.. until I'm several feet back. So far, so good.

Venice, Italy 5

Now the fun begins. Architecture, windows,balconies, railings, etc... This process is like cutting your lawn with scissors. I continue to adjust my original sketch as I move along, leaving out the unimportant and emphasizing the little things that create a sense of realism. Things such as shadows and the direction they fall against other objects are of importance to me. The local color of the buildings is probably going to be modified as I continue.

Venice, Italy 4

Taking a break from the background, I work in a fashion unlike my typical behavior. I paint a foreground element in early. Typically, I work from back to front. However, like a little child, sometimes I'm impatient and need to get a visual about proportions and balance. Anyways, the lamps are a key component to the landscape settings in Venice. It also gave me an opportunity to paint an item that is absolute in its design; unlike to sky which is always changing.

Venice, Italy 3

Painting skies is always a lot of fun for me. Although this sky is far from complete, I begin to enjoy the mood is establishes for the rest of the painting. The overall temperature and values of the local colors will need to be established from this point forward. The architecture of the buildings leave me with very little wiggle room; but, the tone (high key -low key) decision remains with me. I like to have some control of the process.

Venice, Italy 2

Venice, Italy photos usually include cloudless skies with a Cerrulean/Cobalt hue. However, the customer requested a slight modification to reality. Happy to make the change, I began to add a little mixture of Permanent Mauve , Ultramarine, Cadmium Yellow, etc. to create a little action above the buildings. Remember, art gives us that license we've all talked about.

Venice Painting

I've stretched a 4 foot linen canvas for this commissioned piece of Venice, Italy. After preparing the canvas with acrylic Cobalt Blue and Raw Umber, I roughly sketched the scene using a pencil. Next, I started to block in the sky. Using only Liquin as a medium, I look forward to the next day where I can paint over my initial layer.