He starts out by outlining certain areas with his brush, just to get their basic shapes, and then immediately goes in and paints those shapes; but he doesn't slather in the paint, he really watches out for the tiny highlights and edges and leaves those to shine. Watching it come together from nothing is a real experience in seeing a particular method in action. Here is an example, from paint sketch to finished object:
SCOOTER DEMO BY MARC TARO HOLMES |
So first of all, I picked a subject that was larger and more complicated; second, I quit looking at small shapes and also forgot halfway through to adhere to the "leave light" rule; and third, I put in a matt background, which doesn't work at all with this kind of painting! Also, the tractor got away from me and grew about a foot too long, meaning that the most important part—the dumper—was mostly off the page! (Hint: When your paper is square and your subject is a rectangle...um...duh?)
So...this is one of those paintings where you have to go in and pick out the few spots where you were happy with it, memorize those, and try again later. I felt like I captured Marc's method briefly with the roof and the seat and the figure; but then I lost the round shape of the tire while focusing on all the tiny shapes, and after that it became a whole lot of unrelieved red that should have been broken up much more definitively (and shortened in the body, as previously noted). I managed to sneak in a bit of the dumper, but a lot of that was lost to miscalculation. And the background? Nope.
But...having spent more than two hours on it, I'm posting it anyway!
DAY 11: TRISTE'S TRACTOR
#30x30DirectWatercolor2019.
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