This was the most challenging of the three. Everything in the painting is manufactured, and such objects have to be completely correct in detail, whether in their brands, fonts, and colors, or simply because they are made with precision. This painting also required me to show more kinds of materials and textures than either of the other two. Below are some progress notes.
The first application of colors; some parts still show the underpainting. I had to leave the cracker wrapping paper for later, since the translucence depended on the final colors of the objects behind the paper.
The final drawing, arrived at in consultation with the clients. In hindsight I wish I had taken more time on this step, especially on the fonts. Later, I spent a lots of time adjusting the way the lettering moved around the curved surfaces.
A color study based on my color analysis with the Munsell chips. Some colors changed and became more complex in the final piece, but this gave me a place to start, and allowed me to show the clients the direction I was going.
The basic palette, though that deep yellow never got in. It was on a part of the cracker box that did not show in the final composition. I mixed these colors in quantity and stored them in plastic syringes. I was so glad later that I had taken the time to do that! This project stretched out over 4 months, but every time I sat down to it I could reconstruct my palette in minutes.
8" x 14" oil on linen panel