Now that the so-called 'full-spectrum tonal study' is nearing completion, I can start adding the 'native' or 'local' colors. In my opinion, the advantage of using the 'full-spectrum tonal study' throughout the entire composition BEFORE committing to local color is that this approach lends an overall continuity and warmth to the painting. No part of this mural appears isolated from the rest; rather, the whole things hangs together as a unified field.
The richness of the shadowy parts in contrast with the highlighted colors is really apparent as the steam locomotive comes into sharp resolution.
The cluster of figures is now about ready for 'local' color after the last treatment with pthalo blue strengthens the shadows. At this point all of the colors represent only the 'full-spectrum tonal study'. No effort has yet been expended in introducing the actual colors of the clothing or flesh tones. That will take place in the coming days so wait for it. You will see quite a radical transformation as it progresses.
The horse and buggy now stand out in sharp contrast from the background (more muted) colors. Also, the perspective of the horse creates a convincing illusion that he is popping out of the surface.
The parade of vintage vehicles begins to come into its own as increasing contrast and resolution (those two elements seem to go hand-in-hand with this technique) begin to enhance the three-dimensional dynamic.
A more distant shot of the parade shows the marchers along with historic downtown Young...with the seemingly gigantic cows calmly overlooking the scene. I wonder what they are thinking?
Backing up even further to show the relationship between the horse and buggy and the parade. The diving perspective is accentuated by the sweeping lines of both the parade route and in opposition...the horse's torso that proudly stands in front of the letter 'N'.
Looking back on the lower section of the mural towards the end of the work day.
I think the fairly busy collage of shapes is sorting itself out quite nicely at the lower right-hand side of the composition.
Turns out that the two portraits of our honored WWII vets will be every bit as prominent as the weathered figures at the upper left-hand side of the mural. I was a bit surprised at how large and eye-catching these two figures ended up being. Sometimes it really is difficult to anticipate how things will look until they show up on the wall.
Just modeling the various textures in this vista that shows a clerk at the 'Bean Farm' operation. Again, I was just a bit surprised at how prominent this figure turned out to be. He nicely anchors the middle right-hand side of the composition.
The parting shot of the lower section of the mural shows how the overall continuity holds the composition together in a coherent fashion. Even with such a complex phantasmagoria of shapes and colors there is certainly a visual and conceptual order.
