I love working with different media and on various surfaces, but sometimes I end up feeling rusty when switching between them. With some competition deadlines approaching, I felt the need for a little warming up exercise, using watercolors on paper, before I tackled some of the large paintings I have in mind.
A scene I witnessed last summer had warmed my heart and I had instinctively taken a photo with my camera. I was exiting the farm market at our local Mennonite community so the photo was taken through my windshield. The figures were not identifiable, as I was behind them, but it occurred to me that I might be violating their privacy. So I filed the photo away.
As artists, we are encouraged to create from what stirs us emotionally. This image struck me as a special moment between a father and son. I finally decided it would be wonderful if I could capture what I felt in a painting.
The reference photo was not great quality, but it was enough to guide me in a small painting. I dove right in, using 300lb. Arches cold-pressed paper with a limited palette of colors I had seen artist Mary Whyte use in a portrait video:
- raw sienna
- burnt sienna
- permanent rose
- hookers green
- cerulean blue
- ultramarine blue
I made my customary test sheet of colors to confirm that I could mix a full range of hues and readily create values from light to dark. The colors were 'earthy' which seems to fit the subject well.
I wanted the focus to be on the two figures and the horses leading them, so that's what I painted first. Against the white background, they reminded me of the fabulous paintings of Norman Rockwell, and I hoped I could keep the focus on the figures when I added the background, as he did so masterfully in his artwork.
I kept the background simple and monotone, with soft edges and light values to help push the distant landscape back. I wanted the center of interest to be the little boy, curiously turning his head to get a peek of the road ahead. To further emphasize him, I used the most light/dark contrasts, sharpest edges, and brightest colors. Lastly, I cropped from the right side to position the boy in a more interesting composition in my the final version of "A Fleeting Moment," as you can see at the top of this blog post.
It still concerned me that I might offend the Mennonites by making my painting public. Online sources say that they are not opposed to photographs but generally do not pose for them. To set my mind to rest, I needed affirmation. My good friend Susan (whose cows have sweetly posed for me to depict in watercolors) has a special relationship with some of the Mennonites. She agreed to show them my original photo and finished artwork on her cell camera and give me their feedback. I'm happy to report what Susan relayed to me: "They loved the painting. They all knew the man and his son. They see no reason not to use it as you desire. They said it could be an Amish farm in Pennsylvania. They were so impressed as I always am.” This was just the message I had hoped for ...and more!
