Saturday, May 21, 2016
Wednesday, May 18, 2016
|Fruit and Flowers/ 8 x 10/ oil on board|
Sunday, May 15, 2016
Friday, May 13, 2016
|Peonies, Iris and Rose Study/ oil on canvas board/ 9 x 12/ $215|
Thursday, May 12, 2016
When I write these posts, I am not sure anyone receives them, so your notes are appreciated.
This little painting started as an exercise working on round objects (the mini watermelon and the brown egg). This image doesn't show the subtle warms that add dimension (light rose in the watermelon and yellows on the egg). After painting the watermelon and egg, I liked them so much that I added a glass tea cup to complete a mini composition.
This is NOT the way to make a painting. I have wiped, painted over or just thrown out are tons of paintings without a clear idea of the light/dark pattern PRIOR to starting. This study also does not have a compelling (interesting) dark/light pattern. If you are one of my students reading this, go find a favorite painting and look at its value plan...Now think about a painting that you have been unhappy about and determine if the basic skeleton (value plan) of that painting isn't the issue.
Wednesday, May 11, 2016
|Peony Study (that I like) oil on board/ 10 x 8/ $195|
I have been re-evaluating where I want my art adventure headed. I have been working on technical challenges to make some of my goals more achievable.
Here is the first oil flower study that I am happy with as I move forward. This has warm shadows and cool lights. It has mostly soft or lost edges and it has a great sense of warmth. This study might be number 6 in my learning series (all the rest are wipers). I have asked Michael O'brien
(Fishing Creek Flower Farm) if he might have some more peonies so that I can continue to work on this flower type. I have found that working from life is so much better than photographs (as everyone wise has always said). In the meanwhile, I am also struggling with roses...
Wednesday, April 13, 2016
I have been working on cleaner, brighter paintings. Everything I read reminds me that a big problem with "chalky" or "muddy" paintings is painting inaccurate color temperature (Presently I am reminded of this because a horse I am working on keeps rolling in the dust....(in reality, I keep erroneously adding white to areas that should be warm...)).
To practice "warm" shadows and "cool" light, I set up a still life. I wiped out my shadows every time that I painted them "cool" (thinking "shadow= blue/grey" which is "cool" which is wrong) ("wipe")). The "cool" light allows use lots of white in the mixes in the lit areas ( remember that white "cools"...) and keep the white OUT of the shadow mixtures...Now back to the horse.