Pomegranates and Corks, oil still life on linen panel, 10×8″
I’m still having fun painting poms and trying to understand them. Below is the process I used, with photos of the set up. I like starting with a Pitt pastel pencil to sketch in the composition and then go to thinned down transparent oil paint.
I’ve switched back to working on panels again from paper in order to have a slicker surface that allows wiping off more easily than the Arches Oil Paper which is very absorbent.
Pomegranate, Persimmons, Brick, Oil on Arches Oil Paper, 10×10″
(SOLD) This painting went through so many changes. I started it before I got the awful cold that kept me out of the studio for over a week. I lost my focus while painting the cloth draped in the background and at the end of the day scraped off the afternoon’s work. When I came back the next day, my foam core shadow box had collapsed and was on the floor along with the drapery and the LED light that I’d perched atop on a piece of plexiglass. Fortunately the brick held steady as did the fruit.
That accident gave me the opportunity to try a different background. I removed the white paper I’d been using to cover the black walls of the shadow box and painted the now darker background. I had fun painting the persimmons and the brick and I think I did a good job understanding them; the pom not so much. It should have a more geometric, boxy shape, not be so rounded.
Below are the stages in trying to get this thing painted, along with the set up as it changed. Click on an image to see full picture, scroll over images to read captions.
I’m still trying to figure out sunflowers. I hate to quit before I’ve succeeded so decided to give it another try, continuing from the four attempts in my last post. Off I went in search of fresh sunflowers. After striking out at the first two shops, I decided that if they didn’t have any in the next store I would put an end to the sunflower project. But freedom was not yet mine; they had sunflowers.
Below are a couple steps in the process. This time I didn’t spend as long sketching or blocking in and I made a point of starting with darker tones which I think helped. I get fooled by the concept of “yellow” and have trouble really seeing how dark yellow can be in the shadows.
Photo of set up
Partially painted over block-in
Sunflowers end of session 1
And believe it or not, I’ve started yet another sunflower painting that will be the last one for a while. I’m desperate to get back to portraits and a still life I have in mind.
Figs on a Grey Plate, oil on Arches Oil Paper, 9×11″
My fig tree is supplying me with figs that are delicious to look at and to eat. I’m working on simplifying my paintings, aiming from strong values and composition, and trying to stop at “good enough for jazz.” This is so much more fun than trying for perfection and ending up with overworked instead. This painting is available on DailyPaintworks here.
Below are the steps in the progress of this painting and below that some bonus fig
Mom’s Perugia Italian Vase, Oil on Arches Oil Paper, 12×9 inches
My mother loaned me this beautiful vase years ago to paint. When I was looking for a subject to paint this week it called out to me from the shelf where it’s been waiting for so long. Below is the step-by-step progress of the painting, which is available on DailyPaintworks here.
Granny Smith Sliced, oil on Arches Oil Paper, 11×9 inches
I was struck by the beautiful cream color of the apple when I cut it open and then all the subtle pastel colors I could see in the flesh because of the light shining through and reflecting off of the apple skin and the turquoise plate. Below are photos in the process of painting the apples from life, with a snapshot of the set up. This painting isavailable here: (Click here for purchase info)
Kissing Cantaloupe, still life oil painting on Arches Oil Paper, 10.5 x 9 inches
I’ve been thinking about still life painting and what, for me, makes it fun to paint and enjoyable to look at. Number one is color that pleases me and a feeling of light and space and a close second is strong value contrast (between dark and light). Traditional or classic still life paintings often have dark backgrounds and somber colors and I’ve realized that’s just not me. That style seems very masculine to me; perhaps because the old masters were mostly men and even back then men liked their “man caves.”
I want to find a way to paint in oils that incorporates what I like so much about my watercolor paintings, which have mostly been light with bright colors painted on a background of white unpainted paper. Another difference is that in oils I’ve tended to work small, painting objects smaller than actual size, and in watercolor I’ve typically painted much larger than life size. I’m going to be exploring working larger and lighter and in colors that make me feel joyful.
One Hour Pear, oil on Arches Oil Paper, 5×7 inches
After struggling for a few days trying and failing to do a one-hour painting exercise as I posted yesterday, I returned to the studio determined to tackle the challenge again and this time, obey the timer. I “cheated” just a little, redefining the project to better suit my current abilities by doing a quick outline and monochrome block-in with diluted burnt sienna and pre-mixing my paint (below) before starting the timer. At exactly one hour I stopped and then gave myself 5 more minutes to soften the edges on the shadow and back of pear and to add a highlight. It’s not a masterpiece but I met the challenge and, most importantly, enjoyed it!
Pre-mixed Paint
Initial block-in
Photo of set-up
One done, two more to go before moving on and returning to some skull drawing and painting practice to enhance my ongoing portrait drawing and painting study.
I’ve given myself the gift of working with artist and painting mentor Sarah Sedwick to spur my growth as an artist, learn new techniques, improve skills and get help from an expert who can spot problems that may be hindering me and that I can’t see myself. We’ve been working on value and color mixing with limited palettes, and after an awful bout of reworking a painting to death she challenged me to do three one-hour paintings. Unfortunately I seem to be constitutionally incapable of doing 1-hour studies, although I haven’t given up trying. My 4 studies above are all 7×5 inches on Arches Oil Paper. Below are the work in progress photos including a photo of the still-life set-ups (though these were all done from life) and in some cases, the color palettes used. You can click on any image to see the set enlarged.
Lemon still life #1
Block-in #1
Palette #1
Set-up #1
Despite my intention each time to do a one-hour study, I painted three-hour (or more) studies. I worked quickly enough to leave them looking unfinished to me, but slowly enough to lose the freshness and conviction of the original brushstrokes. As Sarah explained, the goal wasn’t to learn to paint fast but rather to loosen up and get out of the rut of perfectionism, to get bold and concise with brushstrokes. She said, “The point of timed paintings is to set a constraint so we can be more free in other ways, not create more struggle. We aren’t attempting to create finished masterpieces in one hour, here – it’s a challenge to yourself to see how much you can do, how freely, how efficiently. Setting a time limit frees you to experiment – to slap on some thick paint in an area and go with it – to not stress as much about the drawing and composition – you can fix any issues in the NEXT painting.”
Lemon still life #2
First strokes #2
Block-in #2
Set-up and sketch #2
Palette #2
Part of my problem with these attempts I think, was setting up too complicated of a subject. When I get back to the studio today I’m going to use a simpler subject. And will force myself to stop at one hour no matter what. If I sketch in the composition too quickly it’s inaccurate and I spend my painting time correcting my drawing mistakes. By the time I’ve done a preliminary sketch and/or a careful sketch on the canvas, blocked in the shapes and values with a quick burnt sienna wash/underpainting, the hour is up. I can easily spend another half hour pre-mixing my paint.
Lemon still life #3
Value plan #3
Block-in #3
Set-up and sketch #3
Then when I start painting I get interested in all the cool light effects and details I see and want to capture. I forget my plan to go with 3 values per subject, simple planes and shapes, big brushstrokes and instead soar off into the groove of seeing and painting, seeing and painting until I look at the clock and suddenly it’s 8:00 pm and I haven’t had dinner or midnight…and I long ago turned off the timer and have lost it again!
I painted the 4th still life below with a limited 4-color palette (White plus Cad yellow pale, Cadmium Red Medium, Ultramarine blue) but in the end I added in a bit of Cad yellow medium and Phthalo blue) because I just couldn’t get the colors I wanted for the lemons and blue background.
Lemon still life #4
Block-in, first strokes #4
Set-up #4
But I am determined, and today I will succeed! I am an optimist, for sure, since that’s what I always say when I go to the studio, but I will obey my timer and see what I can accomplish in one-hour one more time.
Bouquet for Busby, ink and watercolor, 11×8.5 inches
On this shortest day of the year here are some cheery flowers to brighten the darkness.
While I was away visiting my mom last weekend, my cat-sitter Rachel (of McGraw’s Paws) cat-sat for the first time since Busby my tabby cat died. She was sad not seeing him too and left me this stunning bouquet of flowers in his honor and a lovely card with these wise and beautiful words about sorrow that are worth remembering for any loss:
‘When you are sorrowful, look again in your heart and you shall see that in truth you are weeping for that which has been your delight.”
Jana Bouc, Artist 