If you like to have it all… here is the entire process in a video, in just over 80 seconds. Keep reading for a photographic breakdown of the process.
This was the primary source image, however, I referenced several pictures taken at varying points from sunset to darkness.
This picture helped me identify the colors lost in the night shot.
When work and pleasure meet… hanging on the roof snapping the above images with Kelsey, Erin and Jason… Both Hessel gals married Jason’s, it was the unwritten family rule.
Beginning with complementary orange, blocking out the primary shapes.
Deep red, light red, cadmium red… Dick York, Dick Sergeant, Sergeant York.
Warm underpainting complete… beginning to splash in a wide variety of blue tones.
Magic hour creates a unique gradient in the sky, particularly in Manhattan with the bouncing lights, so it requires some texture…
Each color in this painting was mixed from the previous for visual cohesion.
You’d think a guy has the blues. Love the way the red Chrysler silhouette looks here.
Starting to bring in the structural lines… I wanted to paint as many dark and midtones as possible before “turning on the lights” — it took patience.
I didn’t attempt to count the exact amount of floors, since it’s more about the impression versus a completely accurate portrayal of the scene. If it’s about 100% accuracy, then a silkscreen will do just fine.
Took this bad boy up to the roof for a more accurate photograph… dark paintings are difficult to photograph without direct light.
This was the penultimate step… I required a pause to identify the final strokes. After taking some notes, I went for it.
And… complete. I want to sincerely thank Nicole and her family for this commission. Here’s hoping you love living with this picture, it was a terrific and enjoyable painting to create.
One more time for the road.