October 17th, 3ftx4ft purple painting revisions

Here are images of the painting as a whole, taken in slightly different light. 

The glare/shininess will be greatly reduced during the varnishing stage by applying a satin varnish. This will also unify the sheen of the whole piece. Also, what might look like gray or black in this lighting is actually a dark, muted purple.

Here are images of each of the corners. 

Note that none are white. Each has a light glaze of color. You can see this best in the image where the white edge of the painting shows. 

Left, top edge:

Right, top edge:

Left, lower edge:

Right, lower edge:

Here are close-up photos of the new canvas texture:

October color change on a custom, 2-part canvas painting:

The following are close-up views. 

Notes on technique:

• I used a bit of texture so that the yellow area on the right hand canvas wouldn't look like a flat shape. 
• I echoed that texture in a small part of the left hand canvas. 
• I blended lighter and medium-value yellows (lighter and darker versions of the same yellow) to give some variety and to make a nice soft transition into adjoining shapes and colors:

Oct 5 new canvas version of the painting

I used the same basic composition on a different canvas, focusing on eggplant colors and a gradient on the right:

Painting Revision-Oct. 2nd

I kept the drip subtle and limited to the lower left portion of the canvas.

I'm moving this blog to my new website.

You can visit the new blog and website here.:
www.paintingsbykegilmore.com

 Part II of "How to bring light values back into an acrylic painting" is already posted on the new site.
Here is a direct link to it:
http://paintingsbykegilmore.com/2013/09/15/how-to-bring-light-values-back-into-an-acrylic-painting-part-ii/

Work in progress: how to bring light values back into a painting

What do you do when a painting has become too dark or has opaque passages where you really would like shining translucent color? 

Overpainting in white can help. Here are images of the painting after opaque whites were added back into the composition through:  drybrushing white paint and some gesso and knife painting additional textural areas with light molding paste.

Notice how the added molding paste brings variety to the mark making and unified some larger shapes.

Now, glazes are able to shine when they are added over those whitened areas. Images of the glazing are coming soon.

Current emerald abstract commission, 24"X36"X3/4", possibly finished

Here is a photo of the piece as a whole:

Here are some close-up detail images.