There's a story in every box of kittens. Check out that story and the inspiration behind this piece on my blog at www.thomasmarsh.net
After visualizing my idea for this I came up with a quick ruff to plan my composition. Initially the
idea was a side view with the slouch of the man sitting there. But he looked depressing and I wanted the piece cheery and upbeat. At first I hadn't thought of adding the children because I thought the simplicity of the man's characterization might be enough to carry the piece. But the more I considered it, there was just way too much fun to have if children were involved.
So I stepped away from the side view idea as I wanted to place the characters outside a non-specific storefront and I couldn't do that as well in this composition, and render the background parking lot, cars, etc. could be distracting.
After visualizing my idea for this I came up with a quick ruff to plan my composition. Initially the
idea was a side view with the slouch of the man sitting there. But he looked depressing and I wanted the piece cheery and upbeat. At first I hadn't thought of adding the children because I thought the simplicity of the man's characterization might be enough to carry the piece. But the more I considered it, there was just way too much fun to have if children were involved.
So I stepped away from the side view idea as I wanted to place the characters outside a non-specific storefront and I couldn't do that as well in this composition, and render the background parking lot, cars, etc. could be distracting.
So I googled lots of reference, manipulated how I wanted and cobbled it all together for my master ruff.
I usually construct from many of sources for each piece. the old man's head for example is from three
separate images. I'll often sub in different arms or especially hands. Its also much faster for me to take
a phone pic of my own hand than looking online for just the right pose. Only drawback is I have to
significantly manipulate the image because my hands are not very femanine looking if I'm painting a woman.
Another thing to pay attention to is lighting consistency between dramatic lighting and reference from
Another thing to pay attention to is lighting consistency between dramatic lighting and reference from
overcast daylight.
Anyway, I got that all together and referenced a brick wall and some appropriate store windows for a
Anyway, I got that all together and referenced a brick wall and some appropriate store windows for a
simple background and will place some sales signs to let you know what the specials are this day.
Ahh. The morning ritual. Coffee, project, notes for the day and some headphones. It's usually Our Lady
Peace or Sick Puppies.
I'll grid out the drawing pretty tightly and then darken key areas with marker and sharpie to stand up
I'll grid out the drawing pretty tightly and then darken key areas with marker and sharpie to stand up
to the layer of underpainting about to be applied.
My usual choice for a warm underpainting that many of you have seen before; burnt sienna, a little
yellow ochre and gesso with a second coat for blocking in darker areas. At this stage I also decided to
include the corner of a shopping cart to further establish a sense of location.
Solidifying my forms in colored pencil and making my color choices. A thin layer of straight white gesso
in large areas of the background leaves a nice rough look that I like.
Establishing the sales signs hoping the red will not be an overly dominant color.
An overall purple oil wash into shadow areas to unify colors and solidify forms. I added the shadow of
the shoppingv cart in Basic Gray Marker (#4) which really added some depth and atmosphere that I liked.
The Final with lots of color fun and increased contrast. Be sure to check my blog at thomasmarsh.net for
the inspirational story behind "Kittens".
Also, I know a lot of folks have been asking about prints. Well, I'm pleased to announce there are
several now available on saatchiart.com
Check You Next Time and Thanks for Watching!
