It is done by adding layers

The next step is to add the textures and begin to lay in areas of color and pattern. The director's shirt has been finished, using green to compliment the pink script. The actors clothing begins to develop, using a combination of warm patterns in the foreground and cooler darker patterns in the background. Two additions from the previous stage include one of the producers working on a lap top (she is to the extreme left in front of the grip) and a ladder in the upper left to help hold the weight of all of the actors in the lower right. At this point there is only the coffee cup to represent craft services, but it is enough to reflect their all important function on a film set. Robert's face (extreme lower right) isn't there yet. It definitely needs more work.

The Next Day and More Detail Is Added

Now that the frame work is laid for the piece, it is time to lay in details and color. The painting is a continual balancing act of the color wheel. I knew that I wanted the pale pastels of the trailers in the background of the peice. And I knew that the "Indians" would necessarily have dark hair, thus creating a value contrast that will set the painting off. The figure in the lower left is a grip, the backbone of the production crew. I wanted to include a reference to the film unions, so his t-shirt will have the IATSE logo on his chest.

You can still see elements of the original start to the painting. This "under painting" often is a good foil to work against and finding my way with the confusion helps to create a stronger more immediate painting.

Step two. a completely new approach

So, the next step...

First, Bridget rightly, hated the original start of the painting. It did not show what happens on a movie set. It looked more like a staged portrait.

In order to capture all of the activity and sitting around that is a movie set, I needed to include a lot more people and physical references. I took the original start, turned it on its side and began laying in more information. At this point it looks very confusing, but you can see the inclusion of the wardrobe trailer, one of the actor's trailers, and the long table for eating at base camp. The green arm is the director's holding a pink script (scripts change colors based on the number of re-writes it has undergone).

The painting is now fully underway, and to a much better end.

Starting out and going step by step

I thought it would be fun to show the development of another painting. This one is being done from a combination of sketches and memory of a day I spent on the set of 'Patriotville' in Rock Hill, SC. My wife, Bridget, is plaaying one of a group of "Native Americans" that are planning to scam a small town. It is later revealed that they are not really Native American. The fun irony is that about half of the tribe are in fact Native. I love the absurdities of Hollywood.

So this represents about an hour or so. It features the director in the foreground talking to the five Native Americans in the cast, while they are waiting to go to set.