Tag: Oil Painting

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

View from China Camp (Ick I hate this painting!)

View from China Camp, Plein Air, Oils, 12x9"
View from China Camp, Plein Air, Oils, 12x9"

The weather on Sunday was absolutely perfect and although I really wanted to stay home and start a large studio painting, I couldn’t resist the chance for another summery plein air painting opportunity before the weather changes. We met at China Camp again for an all day paintout and barbeque but I was only there for the afternoon.

[I started several times to describe the day and the scene, with children playing in the sand, catamarans being launched, the waspy buzzing thingees (yellow jackets?) that tried to share my lunch, how tired I was, etc., but decided it was too boring…]

So I’ll just say a bit about the painting and call it a night: After hunting for a painting spot I realized that what really interested me was the sky and the distant hills and the sparkle on the water. After doing a couple thumbnails to try to fit all of that into the scene, I sketched out the big shapes on the canvas.

Then I decided to just start at the top and paint my way down like I was icing a cake, trying to capture the right colors in relation to each other as I went. Here’s a picture Sue took at China Camp when I was 3/4 done:

In progress shot at China Camp
In progress at China Camp

And here’s the painting as finished plein air:

China Camp as finished on site
China Camp as finished on site

After I got home and had dinner, I looked at it again and thought the water looked more like a meadow and not like what I’d seen. Even though I was really exhausted, I decided to try to fix the water, working on it for about 2 hours, painting and scraping it off, over and over. I must have gone through the equivalent of a tube of paint! Finally I wiped the water portion off completely and went to bed (which is what I should have done in the first place, since I was too tired to think clearly about what I was doing).

Tonight, working from memory only, I tried doing the water again and am satisfied enough to move on.

Categories
Drawing Faces Oil Painting Other Art Blogs I Read Painting People Portrait

Self Portrait in Pigtails

Self portrait in pigtails, 16x12", oil
Self portrait in pigtails, 16x12", Oil on canvas

I met a very quirky 76 year-old woman artist who has made her home, her car and her self into a wonderful, crazy work of art. I’ll share more about her next time, but today wanted to post this self-portrat she inspired.

I’d been feeling discouraged about oil painting after doing a terrible plein air painting on Saturday but meeting that woman on my walk today, I was inspired to braid my hair and decorate myself with make up and do a self portrait in oils.

I started by setting up a mirror but found it awkward to paint while having to keep looking in a mirror to my right and making the same face.  So I took photos, shooting into the mirror, and then displayed the best one on my computer monitor and worked from that. Here’s the photo I used:

Reference photo of me
Reference photo of me

I started by drawing with white pastel pencil on an already toned canvas (actually a reused canvas: the first painting I did when I picked up oils a year or so ago — a portrait of my sister that was so terrible that I scraped it and covered it in a warm brown oil paint to be used again). I like sketching with a pastel pencil because it rubs off easily from a primed canvas and disappears into the oil paint without streaking or smearing.

Pastel drawing on toned canvas
Pastel drawing on toned canvas

Then I photographed the drawing bove and pasted the image as another layer in Photoshop on top of the reference photo, adjusting the new layer to 60% opacity. That allowed me to see where my drawing was off and make the adjustments on my canvas. You can see in the overlay below that I’d missed in many places, despite my attempt at accuracy.

Drawing overlapping photo
Drawing overlapping photo

I’ve learned the hard way that an incorrect drawing just leads to a bad painting.  I could have just enlarged the photo and traced it right onto my canvas, but I love drawing and wanted the challenge of drawing myself somewhat accurately. I think the final painting does look a bit like me and it was definitely fun to do.

I’m going to wear my hair like this to work tomorrow. And I’m not going to give up oils.

Categories
Art theory Landscape Life in general Oil Painting Painting Plein Air

Confessions of a Dangerous Driver

Morning light, Petaluma, oil on panel, 12x9"
Morning light study, Petaluma, oil on panel, 12x9
Afternoon light color study, Petaluma, oil on panel, 12x9"
Afternoon light study, Petaluma, oil on panel, 12x9

I ran a red light right in front of a police car on my way to painting class on Monday. If that wasn’t bad enough, I didn’t even realize I’d done it.

I even thought to myself as I drove past the police car that was waiting for the light to change, how nice it is that police don’t look at women like me suspiciously the way they might at young men in loud cars.

Seconds later I heard the siren, saw the flashing red lights, and pulled over. The cute, young officer was shaking his head,  it was so ridiculous. He couldn’t believe what I’d done and, trying to make sense of it, asked if I was distracted, was looking at a light further ahead, etc.

I never even saw the other car he told me had had to slam on the brakes to avoid me, and who then looked at the cop as both of them shrugged and shook their heads in amazement for a moment.

I eventually figured out what happened. Because I was distracted,  the traffic signal had registered in my mind as a stop sign. So I stopped politely, feeling immune to police scrutiny, and then drove on, leaving the officer sitting behind me at the light.

Thank goodness there was no damage or injuries (other than to my pride and pocketbook—it’s going to be an expensive ticket). It was a good lesson about driving distracted.  I’d been thinking about how late I was AND (hate to admit it) I was on the phone leaving a message for someone (although using the required headset).

About the paintings

Camille offered an extra afternoon session Monday so that we could do both a morning study as usual, and a late afternoon study of approximately the same scene to capture the difference in light. I simplified the buildings, trees and landscape to abstract shapes or puzzle pieces, so that I could focus on the colors and light effects.

In the morning the foreground and midground was mostly in shadow while the distance was in open sun and the sky appeared a weak yellowish to slightly pink color.  In the afternoon everything was front lit with a very warm light.

It was a long day and after Camille made some adjustments to my afternoon study and gave suggestions for doing more,  I realized I was too tired to paint any longer. I lay down on the grass in the park and spent the last half hour of class sketching a palm tree on my back (I mean I was on my back in the grass; it’s hard enough drawing palm trees, let alone sketching one on my own back!).

It had been too long since I laid in the grass on a summer day in the shade of a tree looking up at the sky. I need to do more of that and less rushing around distracted!

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Painting and Sneezing: Cummings Skyway Sunset

Cummings Skyway Afternoon, Oil on panel, 9x12"
Cummings Skyway Afternoon, Oil on panel, 9x12"

The hills were alive with the glow of the sunset, and also, unfortunately, millions of grassy pollen particles blowing in the wind. The sneezing started when the painting was about 3/4 finished. I’ve heard that it’s best to stop painting when you think you’re 75% done so maybe the allergy attack did me a favor. When I realized I was using more of my paper towels for blowing my nose than I was for wiping my palette knife and brushes, I realized it was time to pack up.

I’ve driven along Cummings Skyway many times en route to other painting sites and have always marveled at the amazing views from the road. I was glad when my Sunday plein air group scheduled it for a late afternoon paint-out today. The pull off on the side of the road was big enough for about 8 of us to park and paint near our cars.

In between the roar of speeding motorcycles, passing semi-trucks and the occasional family car that thought it was fun to honk at us as they passed, there was the sound of crickets and the friendly murmur of conversation from other painters. Along with the wonderful warm sun on my face (and the not so wonderful glare in my eyes from facing into the sun) there was the wind that kept me cool (and blew that darn pollen).

Here’s a photo of the scene when I arrived at 3:30. As the sun set, the shadows deepened and the tops of the ridges lit up. This was my first time painting hills at sunset and it was great fun and a good challenge. I tried to focus on composition and selected this chunk of the view from the wide panorama available.

Photo of view when I arrived
Photo of view when I arrived
Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

I Lied!

Dish soap Version 1
Dish soap Version 1

I thought it wasn’t good enough and so mucked with it some more (below) but now I wish I hadn’t. This is the theme of today’s post. Lesson learned: Leave well enough alone, or as my boss always says, “It’s good enough for jazz!”

Dish soap and sharpener
Dish soap & sharpener, watercolor 7x4"

And here is another poor retread, worked over and over.

Sibley Final Revision, 12x9" Oil on panel
Sibley Final Revision, 12x9", Oil on panel

I’m not sure whether it’s better to start a new painting or push one that isn’t working to try to make it work. I know I said the SIbley painting was finished, final revision, moving on…but I lied. I spent a couple hours trying to change the composition so that there was more of a path into the scene. That meant getting rid of the wall and while I was at it, I added a little more warmth.

I promise: now I’m really done! And you know what’s really funny? When I scrolled down and looked at all the different versions I like the very first one best!

Frustrated at wasting time and getting nowhere I tried doing a quick watercolor (above) before bed. I should have just gone to sleep since I don’t like it either. Oh well. Tomorrow (well actually today, since it’s after midnight) will hopefully be a fun plein air day.

Categories
Gardening Life in general Oil Painting Painting Plants Still Life

Early Girl on Blue Velvet

Tomato on Purple Velvet, Oil on panel, 6x6"
Tomato on Blue Velvet, Oil on panel, 6x6"

Last year I planted Early Girl tomatoes and Best Boy tomatoes. They must have gotten together and had some fun over the winter because they’ve returned bearing fruit this summer all on their own.

I was ready to paint something other than that stupid scene at Sibley. Rummaging around in the kitchen a  tomato caught my eye and then when I reached into the stack of colored cloths I keep for still lifes (or is it still lives?) in an overhead cabinet, I came away with a blue-violet piece of velvet (actually it’s a small velvet bag).

It was fun working with such saturated vibrant colors but now I have to clean brushes and let go of painting for a few days while I return to my “day job.” Although I often feel grumpy at having to make that switch, today I’m feeling very grateful for a good job and my comfy home and studio, given all the terrible news of financial ruin and weather-caused devastation I’ve heard today. I haven’t been watching any TV for the past month, which has been great, but today I took a look at the news while I ate dinner and was so sad to see all the suffering.

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

OK, Now I’m really done!

Sibley Finally Done!
Sibley Finally Done! Oil on Panel, 12x9"

I’m persistent if nothing else. Now I’m really moving on!

Update 9/15: Katherine posted a really helpful comment yesterday about the real problem with this painting, which is that putting a wall (or any “fringe” at the bottom of a painting) is generally does not make for good composition. She helped me to see that the real problem with the painting is the existence of the wall at the bottom which can’t be solved by painting or repainting the wall.

She asked whether I’d done compositional/value study thumbnails first. I did do one but should have done more than one, with and without the wall. In the original thumbnail, the front of the wall and the two trees were the darkest darks but when I painted it that way it looked wrong.

I’m so grateful for our wonderful international art group with so many brilliant artists who can I ask for help and who are so generous to share their wisdom!

Categories
Art theory Landscape Oil Painting Painting Plein Air

Sibley Take Two: Better?

Sibley Take 2, Oil on Panel, 12x9"
Sibley Take 2, Oil on Panel, 12x9"

When I took a peek at yesterday’s painting this morning I was disturbed by the color of the foreground wall (“YUCK!” I said out loud when I walked in the studio). I worked on it some more and now it’s closer to how I actually saw it.  I also touched up a few things here and there.

I noticed that I’ve broken a rule of composition: avoid placing two of something, better to have three. For some reason human minds prefer three items to two: two is boring three creates interest. Also avoid two shapes of the same size because contrast is what makes the painting interesting I’ve got two trees the same size, though one is a little further back; two bushes; the wall is split in two, etc.

So what do you think? Is this better than yesterday’s version? Am I done? I’m still bothered that the road and the top of the wall are nearly the same color, but they actually were just about identical and pretty close together.

Advice always greatly appreciated!

Categories
Art theory Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Painting in the Dark for More Colorful Paintings

Sibley Park View from Visitors Center, Oil on panel, 12x9
Sibley Volcanic Park: View from Visitors Center, Oil on panel, 12x9"

OK, it wasn’t really in the dark, but I was in deep shade and could barely tell what colors I was mixing. Yesterday I went to a non-painting event in 105 degree heat and blinding sun and came home with a migraine. I just couldn’t take another day in the sun today but wanted to join my Sunday plein air group. I set up in the shade of the visitor center at Sibley Volcanic Regional Park in Oakland where we were going meet for our group critique at 2:00.

Bicyclists and hikers stopped by all afternoon to eat lunch in the shade, get water, or use the restrooms. Two hardcore women cyclists spent their entire lunch discussing in great detail their recent fruit purchases. Another woman cyclist in full cycling gear told her cycling buddy that her ex-husband married her ex-best friend. Then she dated that woman’s ex-husband. But when her ex-husband and ex-best friend divorced, she and former best friend fell in love and recently got married thanks to California’s same sex marriage law. They rode off before I could find out if the ex-husbands fell in love with each other too.

The rest of my plein air group painted the amazing vistas along the roadside on Skyline Drive and Grizzly Peak Boulevards but they had to put up with the heat and direct sun. I was perfectly happy with this lesser vista and the lovely shade.

Painting in the dark
Painting in the dark

I discovered an interesting phenomenon. When I paint in the bright sun my colors look really nice and bright, but once out of the sun, the painting looks duller and dark. Just the opposite is true when painting in the shade. The colors look much dull and monochromatic in the shade (see above). But in the light they’re bright and colorful. That also seems to happen when I wear gray tinted sunglasses.

In the same way that squinting (reducing the light coming into your eyes) removes the color from the scene, allowing you to see values better, painting in the shade or wearing dark glasses reduces the perceived intensity or saturation of the colors you’re mixing. That in turn tricks you into mixing more brilliant, saturated colors. Or at least that’s what happened to me today. I was pleasantly surprised each time I carried my painting out into the sun to see what it really looked like.

Me enjoying the shade at Sibley
Categories
Oil Painting Painting Still Life

First Gnarly Tomato of the Year

First Tomato, oil on panel 6x6" (click image to enlarge)
First Tomato, oil on panel 6x6
I didn’t plant tomatoes this year, but oddly, last year’s plants came back on their own. This critter was the first one to ripen and it was so gnarly looking I had to paint it. I wonder why it turned up with this shape? Could it be 3 or 4 tomatoes that grew together like Siamese twins? Or did the tomato frame that supports the vines dent it?
I started by doing a couple watercolor sketches to get an understanding of the shape. Then I made a gallant start on the oil sketch, getting it almost done but then fiddling with it until I had to scrape it all off, repainting and then fiddling some more. I must have scraped and fiddled and scraped 10 times. I called it done at midnight and went to bed.
Tonight after work I gave it another shot, and am happier with this version (painted on top of the first). I can see that I wasn’t using enough paint the first time around. There are so many other colors than red in a tomato and mixing the right color for the right spot is surprisingly challenging.