D. Cheifetz Newsletter | 4.28.19 | Raven Part 2 (plus video)
Sent: 4/28/2019 5:01:12 PM

View Text Version | SUBSCRIBE

Dear Subscribers,

Greetings!

....continuing from the previous newsletter: Raven Part 1.

Next stage. I keep shrinking the area of red around the feet because the size is carrying too much focal weight and making the head less special. At the same time, I start experimenting with creating some connection between the red areas and some feeling of motion. I also begin altering the background values.

Experimenting with edges to bring background and subject together:

At this point I realize that the area of bright, saturated red is so large that it has become paradoxically less special. Some of you long time subscribers may remember a painting that provided a similar challenge and epiphany: "Witness To Red Left Unseen". So I begin killing that red with less saturated colors, isolating a smaller area of focus:

More experimentation with the background:

What was true with the red is also true with the blue. Something isn't quite right, and I realize that while the blue is meant to highlight the red, all that blue is overbearing. So I start to isolate the blue by using more neutral colors in the extremities of the background. I'm always looking for ways to increase the effect of a single primary focal area.

I continue to carve away at that blue (including in the rightmost wing) until the most saturated blue is completely within the body of the raven, adjacent to the focal head.

At this point I'm mostly satisfied with the overall color distribution, so I begin experimenting more with the values as well. Darker values in the background begin to suggest the motion of falling ash that I hope to incorporate. You'll also notice a significant change in the head shape. I'm making sure the form will read more specifically as a raven, rather than some other bird of prey:

I want to visually connect the topmost bright area of wing more with the adjacent background rather than have it stand out in stark contrast. So I brighten the background, as if that whole area is in a wash of bright light. The lightness of those feathers is also meant to be interpreted as actual whiteness, as I will explain later in the newsletter.

I begin defining/creating the feathers of the left wing. I'm using multiple photos for reference, as the primary reference for the pose contains very little detail in that area.

More refinement of feathers, and additional adjustments in the background blue. In the beginning, my choice of blue was mostly just a function of: what will pop the red? I wasn't even thinking of the sky. But as the colors of ash/smoke develop, that blue is definitely starting to serve as a sky blue, which is pretty cool (literally, lols). I use some of that sky blue as a way to lengthen the gestural arc of color that connects feet and head:

I always go for extremes. I can't help it. But you don't know until you try. I pump up the red/orange/yellow around the head and beak to see if I can really pop the dark shadow shapes. The darks definitely pop, but at the expense of focus. Now the focus is less on the red within the head, and more on the bright color around the head. I went too far. But it was worth trying:

So I desaturate the color haloing the head. Immediately the red pops again. I'm really feeling good about the color at this point. I begin adding details, playing with edges, and experimenting with falling embers. The painting is finally starting to come alive:

I enhance the eye with some reflection from the blue "sky". More bits of detail in the background. I finally resolve the feet.

The painting needs more. It needs to be more "full". I search for photos of volcanic ash and clouds of smoke. There are some really interesting bubbly forms in those eruptions. I try to create a pattern to capture that. I start framing the raven with the clouds of ash. I also start warming up the temperature at the bottom of the painting, suggesting the possibility of fires below frame. At this point in the painting, I'm probably using 50% brush and 50% knife.

I give the smaller cloud of ash on the left side more definition and refinement with some darker shadows, which I think helps to balance out the composition. The bottom of the painting needs something more, so I start painting another ash cloud down there:

I finish refining the bottom cloud and add another one at left, adjacent to the raven's tail.

Now I paint some final touches. The most significant refinement at this stage is pushing the shadow forms in the top of the wing to a higher key, so that the entire top portion of wing feels bathed in light, as you'll see in the final below. Big improvement, very satisfied with that change.

And the finished painting, "Raven's Gift" (16x20 oil on panel, sold):

This was a commissioned painting. I took inspiration from a legend in which Raven brings fire to humankind, white feathers turning black from the ash and voice becoming hoarse from the smoke. Also, interesting fact: white ravens exist. Isn't that amazing? I had no idea.

View high resolution version of "Raven's Gift" HERE.

A closeup:

And here's a short one minute time-lapse video with the stages. Kinda nice to see it all together:

Next weekend! :)

STILL LIFE COMPOSITION & PAINTING WORKSHOP

May 3-5

$525

Scottsdale, Arizona

Details & Registration

Thank you for reading! Until next time, best wishes. -David

Forwarded here by a friend? Like what you see?

Subscribe to this newsletter.

davidcheifetz.com