I guess it struck me as I was watching a show on Modigliani - why did he get a likeness when his "formula" was so graphic? Why did he remove so much detail? Even the pupils of the eyes were gone after a while. I drifted off pondering these things, musing on that horrid home painting - musing why it was so flat and primitive and really, to me, boring. If I manage to market this product - I'll get lots of red brick, summer portraits in this area so I better find some way of making them beautiful.
I desaturated the painting - it was distorted. The greys were very uneven, ungrounded. I wondered if that was a result of the colour palette. Every colour was represented - almost evenly and veery highly saturated too. In attempting to define each element in the painting I was isolating each one. The "lost line" is hard to define with opposing colours. I really need to find a way to leave the colour till the end of the process. So if I decide to start the image in basically a monochrome . . . not greyscale NO MOOD - that was abhorant to me. I decided I should focus on an initial wash of the canvas, then blendup to a colour that represents the element.
EXPERIMENT #1
So here is the test pic. Is this image blue? green? or yellow? It is not red although I might play with that to learn more.
I think they are all very different.
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