![]() ![]() I hope you enjoy this journey just as much as I did and get to do a little “California Dreamin” along the way.Īnd if you’d like to see the full timelapse video of this painting, click here…. But that is just the nature of a cityscape, they set their own pace! There were days when it felt like no progress was made whatsoever, and others where huge changes happened. I worked on it simultaneously with other paintings, allowing time for the layers of paint to dry between each session. In total, this painting took me close to three months to complete. I let this layer dry completely and then began the many, MANY layers of opaque paint and glazes. At this point no white paint was used at all, it’s just the white of the gessoed panel showing through as I applied the paint and wiped it away that established a value study that I used as a roadmap. Step two was the “wash” or underpainting which was used as a base for subsequent layers of paint. for the drawing I used a simple grid to help with perspective and scale, assuring everything was correct before moving on. So in case you couldn't work out what is playing on my screen, there it is… just some old pals helping to keep me focused and feel less alone while I try and stay planted in my chair. Literally (and shamelessly) “Friends” and of course the gang from “It’s Always Sunny in Philadelphia” keep the studio light and breezy and strangely have a meditative effect on me while I paint. It’s my all time favorite tool, and 100% necessary for working on large scale paintings in a small room.Īnd then because this painting (like most paintings) is a marathon and not a sprint, it’s crucial for me to have some friends and familiar jokes keeping me company in the background. This is a great way to add distance to your space if you also work in a tiny studio! The mirror will double the distance while also flipping the image, so you can constantly “back up” and get a fresh perspective as you paint. The first step was setting up a large mirror in my studio opposite of my easel facing the painting. Plus not to mention the sheer amount of paint that’s needed to cover a panel this size! So saying I was overwhelmed is putting it lightly, but I was also very excited to really dig my teeth into a project this size of a place that is so close to my heart. And working in a small bedroom studio, backing up to see the painting from a distance was next to impossible. The drawing and perspective absolutely had to be correct, otherwise the mistakes would be glaring. The size was enormous, measuring 26圆0 inches, so the challenges were stacked high and wide for this type of scene. ![]() The end result being a collaborative composition between the collector and myself. Except, we changed a few things! The less exciting buildings on the right were replaced with a row of ornate Victorians from the Mission district, cars were removed and palm trees were added, as well as areas of “busyness” to help add color and personality to the sidewalks and streets. After several iterations and photoshop adjustments, we narrowed it down to a morning on Russian Hill looking out over the bay. We discussed what elements would best represent San Francisco for them, as well as what overall color palette and size would best fit their home. The request for the painting was to not only paint a San Francisco street scene, but to depict a memory of “home” for the collector. One of my favorite cities in the world, and a place I was fortunate enough to call home for close to 15 years. San Francisco is gorgeous city known for its steep hilly streets lined with cable car wires and colorful Victorians, breathtaking views of the bay, and all of its iconic ‘Summer of Love’ West Coast beauty. And for the first time in history I managed to film the ENTIRE process! There is full length timelapse video of this painting now up on our Youtube channel “Painting with Lindsey & Nate”. In December of 2020, I was commissioned to paint an oil painting of San Francisco, California. ![]()
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