If He-Man were alive today, he might thrust his sword to the sky and declare, “I have the Power of the Twitterverse!”
Following my tweets about the Chrysler painting, my former colleague Vicki Harte took notice, and put me in touch with the gentlemen of SS+K. Citing their stunning 30th floor view, they opened their doors to yours truly for my painting delight.
I’ve been a fan of SS+K’s work for some time – no surprise considering the terrific people I met while on location. Taking brief work breaks to discuss the advertising industry with top Partners, VP’s and Directors makes the time fly by.
After the jump, a full recap of the entire process.
Here is the view.
All set, and ready to get down to business on a fresh 30″X30″ canvas.
Following suit with my most recent Chrysler painting, I began with a red outline under painting.
Nailing things down further. It’s always challenging to fit such a complex view into a square, but after a close look, I felt the diverging roads would offer a sound compositional anchor.
Can I get a whoop whoop for Hooker’s Green? Dirty name, beautiful hue.
There is nothing more copacetic than covering a swatch of canvas this large, this early in a picture.
In the whited out top of the canvas is the horizon point, where you can see practically to Alaska, and in the distance, Russia.
Working around the picture with the blue and orange complimentary colors of the Islanders; my subconscious is recalling a favorite bridge painting by Charles Sheeler, no doubt.
A deep, Ron Burgundy Red to spice up the party.
A deep, warm green to create the reflective shadows throughout.
This is how the canvas looked following day one. It kept whispering to me, “use that brush, no, the smaller one next to it. Yeah, that’s the one.”
Beginning to create surfaces and angles with a bright yellow.
And now, a concrete type of color, to build secondary planes, and create places for the eyes to rest.
A deep bluish green for some reflective, warm patches of shade and secondary planes.
It’s time for some deep red salmon to punctuate and differentiate buildings.
Some deep, dark violets – establishing the trusses of the Manhattan and Brooklyn bridges.
Working a round of blues throughout the canvas.
Finally, the details on the Manhattan bridge are getting close, while a round of confused orange greets the Brooklyn span.
With the fundamental structure of the Manhattan Bridge complete, the Brooklyn span required attention; including a reflective purple for the shadows.
Light, pastel reflective colors in place, I turned my brush to the water, adding the suns contribution to the scene.
Like attaching two old fashioned speakers to a receiver, bridges too require wiring. The brightest point of light on the entire canvas – the Manhattan Bridge.
It takes two to tango, and the Brooklyn Bridge doesn’t like to be upstaged.
Small splashes of pure red and blue to accentuate.
The final. Thank you again Vicki Harte, SS+K, Richard Shemo, Bradley Kay, Sam Mazur and everyone who took a moment to stop by and say hello. Coming up next, a cityscape from World Trade Center 7 – and possibly a view from Brooklyn. Stay tuned.