Many, many years ago when I had an opportunity to travel north and visit Glass Onion and Michael & Audrey, I acquired my first original MW paintings. Michael, in his generosity, gave me the working drawing mentioned above. I later had the opportunity to share it with one of my favorite musicians, Jonn Serrie. He was astonished to see it as the painting is used on the cover of his wonderful CD, Midsummer Century!
How did you work out the lighting on this painting, particularly the warm golden light interacting with the cooler pinkish violet shadows? This is one of my favorite paintings. Did you have a model? Did you make up the fallen city from some kind of random pour and work up details from that, or did you make a drawing?
Thank you for answering in such detail. Your use of warm and cool light is masterful and I've learned a lot from looking at them. I have lost the names of some of my models, too! Wish I could show them what I did with their photos, but as you say, alas.
That painting had a fairly tight working drawing done on tracing paper, wherein most of the details had been worked out. You are right in guessing that much of the fallen city was done “on the fly" so to speak, as I didn’t work that out in my drawing. I had the confidence that I’d be able to develop it as I painted.
I did have a model. Her name was Kerri, and she had such wonderful long dark hair! I really enjoyed working with her, and you can see her in many of my earlier paintings, including AMAZONS II, A DAUGHTER OF REGALS, A MASTERMIND OF MARS, among others.
She moved away from this area some time ago. I never did know her last name, alas.
Michael was talking about a tight sketch he did before the painting, but I'm not sure if I've ever seen that sketch.
Many, many years ago when I had an opportunity to travel north and visit Glass Onion and Michael & Audrey, I acquired my first original MW paintings. Michael, in his generosity, gave me the working drawing mentioned above. I later had the opportunity to share it with one of my favorite musicians, Jonn Serrie. He was astonished to see it as the painting is used on the cover of his wonderful CD, Midsummer Century!
How did you work out the lighting on this painting, particularly the warm golden light interacting with the cooler pinkish violet shadows? This is one of my favorite paintings. Did you have a model? Did you make up the fallen city from some kind of random pour and work up details from that, or did you make a drawing?
Thank you for answering in such detail. Your use of warm and cool light is masterful and I've learned a lot from looking at them. I have lost the names of some of my models, too! Wish I could show them what I did with their photos, but as you say, alas.
That painting had a fairly tight working drawing done on tracing paper, wherein most of the details had been worked out. You are right in guessing that much of the fallen city was done “on the fly" so to speak, as I didn’t work that out in my drawing. I had the confidence that I’d be able to develop it as I painted.
I did have a model. Her name was Kerri, and she had such wonderful long dark hair! I really enjoyed working with her, and you can see her in many of my earlier paintings, including AMAZONS II, A DAUGHTER OF REGALS, A MASTERMIND OF MARS, among others.
She moved away from this area some time ago. I never did know her last name, alas.