Categories
Art theory Oil Painting Outdoors/Landscape Painting People Photos Places

Sit Stay Cafe Girl Sketch in Oils

Sit Stay Cafe Girl, oil on panel, 10x8"
Sit Stay Cafe Girl, oil on panel, 10x8"

When I painted this oil sketch I had three inspirations: First was the Peggi Kroll Roberts video focusing on designing value patterns by simplifying and grouping values, even when the colors are different (e.g. the red umbrella and green trees above are very different colors but approximately the same values).

Curan: Afternoon in the Cluny Garden
Curran: Afternoon in the Cluny Garden

My second inspiration was the Curran painting above that I saw at the Impressionists show at the DeYoung Museum. I fell in love with this painting because of the colors, strong values and abstract qualities and brought home a print. Charles Courtney Curran was an American artist who studied with the Impressionists in Paris in the 1880s and then returned to the U.S. His other work I’ve seen online doesn’t appeal to me at all, too sugary and romantic.

Original photo reference with face blurred for anonymity
Original photo reference with face blurred for anonymity

I was also inspired by my reference photo (above) that I took at the Sit Stay Cafe at Pt. Isabel’s dog park where I was lunching, sketching and taking photos to test a new camera last summer.

The tired young woman was very kind about allowing me to sketch and take photos of her. She told me she also liked to paint. Since I didn’t ask for permission to post her picture online I blurred her face in Photoshop first.

Categories
Landscape Oil Painting Outdoors/Landscape Painting Photos Places Plein Air Sonoma

Viansa Vineyard: Final Touches on Final Plein Air 2010

Viansa Vineyard, 11/2010-1/2011, Oil painting, 9x12"
Foggy Morning at Viansa Vineyard, 11/2010-1/2011, Oil painting, 9x12"

My plein air group had our last meeting of the season in November at Viansa Winery in Sonoma. I’d made a good start on the painting plein air, but it needed work. Today I got tired of looking at the unfinished painting and completed it (above), using both brushes and palette knife.

I’d set up my easel at the edge of the parking lot and had a great view of the vineyard. But there were so many interesting things to see that I included all of them in my original painting below (except maybe the cars and the birds and bees—that’s some progress I suppose).

Viansa Vineyard, unfinished plein air
Viansa Vineyard, unfinished plein air

There are some passages in the painting I liked, especially the top fourth, but there were some problems too: the strong yellow diagonal line leading you out of the painting, the bright gold triangle top right, the green line of bushes beside the purple road, both of which weren’t needed even though they were there in real life.

Viansa photo reference
Viansa photo reference

This is the photo I took at the beginning of the painting session. The sun and fog and clouds kept changing but the overall impression I had of the day was sunny.

A previous Viansa painting can be seen here. It’s nice to see the progress I’ve made since then.

 

Categories
Art theory Oil Painting Painting

Painting Value Studies with Peggi Kroll-Roberts DVDs

Block Study 5, from value to color
Block Study 5, from value to color, oil on canvas, 9x9"

After viewing and savoring my Peggi Kroll-Roberts DVDs, I’m doing the exercises she teaches in them, starting with value studies. To keep it simple and focus on values I used colored blocks for my subject. Above is the last study of the day in which I tried to apply to color what I’d learned by doing the gray-scale value studies below.

Value Study with blocks # 1
Value Study with blocks # 1, oil on canvas, 9x12"

One of the huge new (to me) things I learned from the Simple Value Plan DVD is that when you make a value plan for a painting, you can choose a range of values for the painting, such as making it high-key (mostly light) or  low-key (predominantly dark), rather than copying the values as you see them. Kroll-Roberts compares this to playing music in different keys.

She recommends making a value plan before starting a painting by simplifying and grouping shapes in the image into two or three values, with 1/3 light and  2/3 dark or vice versa for a more interesting design. In the study above on the right I used only mid to dark grays, for a low-key, predominantly dark study.

Value Study with blocks #2
Value Study with blocks #2, oil on canvas, 9x12"

Another tool she demonstrates is to first mix a value scale and put it at the bottom of your value plan study as I did above on the bottom right, and select your values from that scale. You can see the 3 blobs of paint at the bottom of most of these studies that indicate the values I intended to use.

Value study with blocks #3
Value study with blocks #3, oil on canvas, 9x12"

Above I wanted the study to use the full value scale, black, white and mid-gray. I noted the colors of the blocks and how I was interpreting their values (yellow and white blocks and beige table top = white/gray; red, green and blue = gray/black,  depending on if they were in light or shadow). I did some more adjusting of value once I had it blocked in so there are more than 3 values.

Value Study with blocks #4 - High Key
Value Study with blocks #4 - High Key, oil on canvas, 9x12"

On Peggi’s DVD High Key Value, she demonstrates creating a high key (mostly light values) painting by simply selecting the values that are mostly very light. I tried doing that with this study, and I think it works, but could have used an even lighter “darkest dark.”

Categories
Lighting Oil Painting Painting Still Life Studio

Pomegranate Pom-apalooza

Pomegranate Revealed, oil on board, 9x12"
Pomegranate Revealed, oil on board, 9x12"

Happy New Year! Thanks for hanging out with me this past year! Even though I’ve had a nasty cold all week I managed to get in some pomegranate painting between nose blowing, naps, and chicken soup breaks, but not nearly as much as I’d hoped to do over my year-end vacation.

Pomegranate value study in oils
Pomegranate value study in oils, 8x5"

I only had enough energy to be in the studio for a couple of hours a day but fortunately the pom waited nicely for me. I started by doing a value study in oils (above), trying to sort out where the darkest darks and lightest lights are and just how dark and light they are.

Pomegranate quick study, oil on board, 5x7"
Pomegranate quick study, oil on board, 5x7"

I did a small study next since I knew I didn’t have more than an hour or so of painting energy. I had fun with this and feel like I’m starting to find a way to get loose and sketchy with oils.

Pom photo under Reveal bulb
Pom under Reveal bulb

I used a GE Reveal light bulb in my lamp which gave everything a pinkish-lavender cast and that’s why I named the painting “Pomegranate Revealed.” GE says they are “specially made to filter out the dull yellow rays produced by standard incandescent bulbs.” I’d bought it originally thinking it would simulate daylight but it doesn’t at all. I usually use a fluorescent 5000K bulb 40 watt bulb (equal to 150 watts) which does a better job of producing clean light.

Pomegranate Revealed - Cropped to 8x10"
Cropped in Photoshop to 8x10"

When I compared the final painting and the studies I realized I liked the original composition with less background better so I experimented with cropping the painting in Photoshop. It’s not hard to cut the board down if I decide to crop it for real.

What do you think? Do you like this cropped version or the “final” version at the top of the post better?

Categories
Albany Life in general Oil Painting Painting Places

Santa and Christmas Sleeping Rough in the Park

Santa version 6, oil on panel, 8x6
Merry Christmas Santa (version 6), oil on panel, 8x6

People are living in the park known as the Albany Bulb again. On a walk we saw more than a dozen homemade shelters, tree houses and tents hidden away in the brush, this one (below) complete with Christmas tree.

Christmas at the Bulb
Christmas at the Albany Bulb

Although I no longer celebrate Christmas with trees and gifts myself, I always like to get out my Santa (at top of post) that was given to me by a wonderful former student who died not long after in a motorcycle crash. The funny, cheery Santa always reminds me of the value of generosity and the transitory nature of life.

I hope Santa finds the homeless families living in the park and makes their Christmas bright. It can’t be much fun camping out in the mud, pouring rain and wind we’ve been having.

And I hope all of you are having a wonderful winter holiday too!

Categories
Art theory Oil Painting Painting Still Life

Christmas Teapot Still Life

Christmas Teapot, oil on Gessobord, 8x8"
Christmas Teapot, oil on Gessobord, 8x8"

My favorite parts of this painting are where I put the paint down and left it alone (like in the little white dish and teabag). I don’t know what comes over me at the end of a painting session when I start adjusting things that don’t need it. The spoon had been fabulous but after a “teensy” fix that wasn’t, and led to repainting, it lost it’s zing.

One of the many things I’ve learned from the Peggi Kroll-Roberts videos is to use a mirror to look at the painting to check for problems. You stand with your back to the painting and hold up the mirror as if to look at yourself. I’d heard of this technique before but didn’t really “get it” until now. Problems with values, perspective and unequal sides of an object really stand out when you see your work backwards in the mirror.

View from the easel of the set up
View from the easel of the set up

The teapot was my gift at my office’s “Silly Santa” gift exchange. Everyone brings one wrapped gift, we draw numbers and select from the pile in the order of the numbers drawn. You can pick a new gift or steal from someone who has already opened one. It’s always fun with much laughter and misbehavior.

Categories
Art supplies Art theory Oil Painting Painting Still Life

My Oil Painting Breakthrough: Striving Pears and Peggi Kroll-Roberts

Striving Pears, Oil on Gessobord, 6x6"
Striving Pears, Oil on gesso board, 6x6"

My friend Kathryn Law wrote on her blog about the workshop she took with Peggi Kroll-Roberts and about Peggi’s instructional DVDs. The videos focus on the things I most wanted to learn, especially creating strong value patterns and making rich painterly brush strokes, along with loosening up and having fun. I ordered the videos and watched them. Wow!

The Buddhist proverb, “When the student is ready the teacher will appear” is so true. I had to have tried and given up on so many other approaches to oil painting to become very clear on what I didn’t want, what I did want (working with the freedom and looseness I have when I sketch) and what I needed to get there (all the things Peggi teaches).

Watching Peggi demonstrate and explain what she’s thinking and doing as she does it is such a rare ability in painting teachers in my experience. Her videos answered many questions I’ve had for so long. I’ve read dozens of books and gotten great advice from artist friends, but until I watched Peggi’s videos, I just didn’t get it.

I’d almost given up oil painting in frustration but now… Yippee! Oil painting is fun again!

About the painting:

While bosc pears aren’t as pretty or colorful as other types, when I saw the way they were sitting in their container, one seeming like it was “striving” to reach, copy, or catch up with the other, I had to paint them. I used the techniques/tools I learned in Peggi’s videos and really enjoyed the painting process (and the results).

Categories
Oil Painting Painting Still Life

Tomatoes Try Again

November Tomatoes Again, Oil on board, 9x12"
November Tomatoes Again, Oil on board, 9x12"

After wishing I could hit “rewind” to get the tomato vines/stems and patterned cloth back in the November Tomatoes oil painting, I realized that I could just paint them back on thanks to the wonders of oil paint.

For reference material I used the photo of the original painting and the tomato vine/stems that I’d snipped off but still had (having saved them for my cats to play with). I experimented first in Photoshop, “painting” stems on the photo of the previously “finished” painting to try to come up with a design that carried the eye around and not out of the painting.

Then I mixed up some stem colors and had fun swirling them on the painting. I worked a bit more on tomatoes, shadows, added some color and reflections in the bowl and painted the background again.  I think it’s a happier picture now, and one that presented me with many learning opportunities. So I’m happier moving on too.

Categories
Art theory Oil Painting Painting

Ripening: Tomatoes and Me (The Spirit of Watercolor vs. Obedient Oils)

November Tomatoes in Raku Bowl; oil painting on board, 9x12"
November Tomatoes in Raku Bowl; oil painting on board, 9x12" (click to enlarge)

UPDATE 12-11-10: I revised this painting again and it’s posted here.

At the end of the season we harvest the crops (or in my case, tomatoes). The last green stragglers are picked from their shriveling vines and set near a window to ripen. And that leads me to think about my own ripening as an artist; reflecting on which artistic pursuits have borne fruit, and which are still hard and green despite my best efforts.

After working in a realistic style in watercolor for years I began to explore other media, eventually focusing on oil painting, determined to gain comfort and competence with it. The path felt wide and long because I’m attracted to so many painting styles, from classical realism to impressionism and even expressionistic figurative work.

But as I get closer to competence with oils (while still far from mastery) I’m beginning to narrow the path and here’s why….

Oils vs. Watercolor

I found that trying to paint in oils in the same detailed, realistic style I enjoy so much in watercolor felt like work, not fun. But why, I wondered.

Categories
Landscape Oil Painting Outdoors/Landscape Painting Places Plein Air

Tormey, CA: Plein air oil painting

 

Tormey View, Oil on board, 9x12"
Tormey View, Oil on board, 9x12"

 

It’s nice to remember those sunny summer and fall days when painting outdoors required sunscreen, not rain gear. Back in October I painted this view from the former refinery “company town” of Tormey. Now Tormey is just a couple blocks long on the edge of the Tosco Oil Refinery near Crockett. At the end of the main (only?) street  is a small paddock with horses and goats. It was a fun place to paint.

I did 75% of the painting onsite and finished it in the studio from this photo:

 

Reference photo for Tormey, CA
Reference photo for Tormey, CA

Now it’s another rainy Sunday here in the San Francisco Bay Area, but after a great walk in the hills between showers, I’m happy to be in the studio working on several paintings in progress.