A Visible Voice is the blog of artist and poet Linda H. Feinberg formerly of Manchester, New Hampshire, now in Boise, Idaho. Prints and cards may be purchased at my website store: http://www.lindafeinberg.com
I am at a stopping point now where I need to think about the painting more before I decide what I should do next. I probably need to lighten some areas, darken others to make the instruments stand out a bit. I think I will leave out the maracas and castanets from my original plan. There is enough going on here.
Here are some of the steps along the way.
Starting out I took my underpainting (burnt sienna) and put it up on the easel with my shapes sketch and the piano music. I tried to keep some rhythm and sense of movement with the curving lines. I took a good look at my actual piano and studied the keys a little before I painted them.
I started putting in the guitar shape and realized that the raw sienna/yellow ochre mixture was not opaque enough to cover the piano keys. I added more layers mixed with titanium white.
I brought Joe's drum into my studio and used that as a model for the drum on the left (djembe). The others came out of my imagination and memory. I decided I needed more color and mixed some phthalo blue (green shade) with white and a little yellow ochre for the drums. I added some more detail to the guitar.
I added the saxophone and clarinet, using images from the internet and manipulating them a bit. I changed them around a little from my original sketch. I felt that I needed more color and did some splashing and brushing. The top photo shows that I darkened the background on the painting and that I wrote the words (using a calligraphy pen) from the sheet music. I enjoyed the process, but still prefer to paint landscapes. This has been a good challenge and, as I mentioned above, I'll probably make some more changes to the painting.