"Basil 2"

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"Basil 2"

8 x 10 in

Oil on Canvas Panel

I wanted to paint these basil leaves again they are a bit difficult too paint especially for a daily painting but I like the challenge.  I also wanted to address an issue that I heard from a friend of mine stating that someone has accused me of using a projector, I just want to let everyone know that I have never used a projector for my paintings.  Truthfully I take it as a compliment who ever thinks that, but again I do not use projectors.

I'm including this photo to show everyone more of my set up of how I paint, I don't paint sight to size I just get close to my subject and try to duplicate what I see onto my canvas.

I started this painting with my usual approach no mediums just a bit of oil on the brush I used viridian and cadmium yellow light for the drawing stage, I wasn't too interested in getting all the details in the drawing stage just get the gesture of the still life.  Then I started with the first pedal going from the darkest values to the lightest ones using ivory black, viridian, cobalt blue, and cadmium yellow light.

I duplicated the process with each leaves and moving towards the right of the canvas, as I was painting I started noticing the leaves starting to droop a bit because they were away from the light or to tell you the truth I don't know why but they where changing shapes pretty quick.

Then I started to add the background to tie it in with the painting and really bring it to a finish, I'm being careful with the edges making sure to soften some areas.

After I established the whole background I noticed that I went too dark on the left side so I lightened it and noticed it worked much better with the contrast in the leaves.

I overall had a good time painting this one, the gestural shapes of the leaves where a lot of fun to try to duplicate.  Thanks for stopping by and hope you enjoyed this one!

"Clementine"

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"Clementine"

5 x 7 in

Oil on Canvas Panel

I started peeling this clementine and saw an assortment of shapes with the silhouette, the subtle oranges to yellows and also the silhouette really attracted me to paint this one.  I also was really looking forward to eating the clementine after I painted it, they are sooooo delicious!

I started with the usual no medium just a bit of raw umber on the brush to draw out the shapes first, after the drawing is established I stated the middle to darkest values in the clementine.  I used ivory black, cadmium orange, and cadmium red deep I am also starting to establish the cast shadows just using ivory black.

I then start adding the middle lighter values to the peals using cadmium orange, and then I start adding the background in order to give more balance to the clementine and also to work the edges more as far as blurring them and making them sharper.  For the background I used cobalt blue, titanium white, burnt sienna, cadmium orange, and yellow ochre pale.

I took the background to the top of the canvas and really blurred the horizon line to create more focus with the clementine, after that was completed I started with the darkest values in the clementine.  I am using the same palette as I stated in the beginning for the peals of the clementine and also the same process going from the darkest values to the lightest, when I got to do the lightest values I just used titanium white.  Adding the titanium white was so much fun to be able to play with such thick impastos and move the paint around was a lot of fun and a great learning tool.

This is the finished pic overall this was a delicious painting to make, I enjoy eating these guys so much and cannot wait to paint it again to eat more!  Thanks for stopping by and hope you enjoyed this one!

"Onion 2"

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"Onion 2"

8 x 10 in

Oil on Canvas Panel

This is another onion painting, I wanted to approach it more of my own style and the way I usually paint than the way I was painting with Michael Klein. I am still moldering the information I gathered at the workshop and seeing what works with my own style and approach to painting, it's a work in progress but the information he told us is vital to any creation of a painting.

I started with a dry brush approach as I usually do with all my paintings using no mediums just raw umber on the brush, then when the drawing is completed I started with the darkest values in the onion.  This area was tricky because of the amount of reflected light that is in the onion, I used ivory black, ultramarine blue, and alizarine crimson.

Then I started dabbing into the middle values using the same mixture but with some titanium white, I am slowly creeping up to the highlights not wanting to put excessive paint if it's not needed.

Then I added the lighter values of the onion using titanium white, ultramarine blue, and alizarine crimson whilst I am doing that I am also adding some of the information around the onion to support the values within the onion.  I then move onto the leaves using ultramarine blue, cobalt blue, yellow ochre pale, and cadmium yellow light, I treat this area fairly loose at first to get the gestural feel of it.

Then I start adding the lighter values after the middle and darker values where established, I used the same palette but with some titanium white added to it.  Then I start with the base after the leaves are taken to a finish I used burnt sienna, yellow ochre pale, cobalt blue, titanium white, and ivory black.  I also go back into the cast shadow of the onion where the strings are hanging out and add that information so it meshes well with the base, it wasn't important to add it in the beginning but after adding the base its best to state it at this time.

Then I add the background using cobalt blue, cadmium yellow, and titanium white, I am also softening the edges to push some things further back and make some edges crispier to push some forward.  This painting was a treat to do as well as the last one I am constantly thinking what Michael Klein said at the workshop and seeing how I can incorporate it into my work, thanks for stopping by and hope you enjoyed!

"Onion"

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"Onion"

8 x 10 in

Oil on Canvas Panel

I'm back!  After a great workshop with Michael Klein I am back to the swing of things again, this painting was more of me warming up with my daily paintings again.  I am definitely going to say it's not the best of my abilities but it was a warm up painting to get back to the daily paintings, I started to get the  hang of it once I started on the leaves and the light green area of the onion.  When I was at the workshop I purposely did not paint the way I'm used too I wanted to apply the whole process the way Michael would paint, I learned a lot and still trying to decipher everything and apply it to my paintings.  

I started with the dry brush approach using raw umber and no mediums, after the drawing was established I started in the onion.  I started with the darks using ultramarine blue, and alizarine crimson I am also starting to state some of the background too using yellow ochre pale, ivory black, and titanium white.

Then I added the middle and lighter values in the onion using the same mixture as stated above except I am using titanium white, and cobalt blue.  Then I moved towards the leaves using ultramarine blue, viridian, and cadmium yellow pale hue, I started with the darkest values and moved towards the lights.

Then I started on the middle section of the leaves where the values are more subtle, then I started on the darkest values of the longer leaves and moved towards the lighter values using the same mixture as stated above.

I also stated the rest of the background when filling in the leaves I do this to keep harmony with the edges and form.  After the leaves are done I start on wooden base and again start from darker values to the lighter values using ivory black, burnt sienna, and titanium white.

For the finishing touches in the strings coming out in the bottom of the onion I used titanium white, yellow ochre pale, and ivory black.  As I stated before this painting was more of a warm up for me to return to my regular daily paintings and try to mesh what I learned from the workshop with my own style, I hope you enjoyed this one and appreciate you stopping by!

"Nectarines 3"

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"Nectarines 3"

8 x 10 in

Oil on Canvas Panel

Hi everyone sorry for the lack of post I am re-posting this painting because for the time being I am extremely busy attending Michael Klein's workshop.  It's going so well I'm learning so much and there is so little time but overall it's an amazing experience, I'll try to post some things from the workshop once its over.  Michael Klein is an amazing artist his passion, belief, and dedication towards his craft is evident, to have him share his technique is truly a blessing to be a part of.  You can see his work here, thanks again and will post newer work hopefully by monday.  

I started with a dry brush approach as usual I now use raw umber instead of burnt umber, I feel it has a lighter value quality than burnt umber.  Then I started with the first fruit went straight into the shadows and I used ivory black, cadmium red light, cadmium orange and a bit of cadmium yellow medium.  I am making sure that this stage is taken to an almost finish.

Then I move onto the mid value stage, I used cadmium yellow medium, cadmium orange and burnt sienna.  Making sure the form is turning and the edges are blending well with the other edges, again I am taking this one to a finish as well going back and forth to the darkest shadow to see if I need to go darker or not.  Then I state my lightest lights which was cadmium yellow light, and titanium white.  After putting in the lights I go back into the shadow and see that I have a little of cadmium orange as a reflected light so I go in and put that in.  Then I take it to a finish.

Then I start on the second fruit, I started with just the shadows as well and I used ivory black and a bit of cadmium red, and cadmium red light.  Then I move onto the mid tones which were cadmium red light, cadmium orange, and cadmium yellow medium.  I am just covering the areas that need to be covered I am trying not build excess paint, if I do then the paints start to become uncontrollable and messy.

Then I add the lightest values and I used cadmium red light, cobalt blue, and titanium white.   I was going all around the fruit making sure the values where working within each other and also seeing if the lights were believable.  Then I started on the final fruit, again with the shadows and used the same mixture as the last one.

You can tell this process is the same as the other two fruits, I then went into the mid tones and when that was taken to a complete level I moved onto the lightest values.  In each step I take it to a finish making sure the values and edges are working well with each other.  When the whole painting is filled in I will go back into the fruits and make necessary additions so it flows well with the whole painting.

Then I added the base, I used burnt sienna, and ivory black.  I then started to add the smaller details after the initial layer was stated, I then added the lighter values which was burnt sienna, naples yellow, and titanium white.  For the smaller details in the wood I used cadmium orange and cadmium red light.

This is the finished picture, I added the background after I finished with the wooden base.  I used cerulean blue, and titanium white, I made sure to go around the fruits and soften where they needed to be soften and not leave a real sharp edge.  Then I carried the background color onto the wooden base so it can look atmospheric and I also added a bit to the nectarines.  I went back into the nectarines and just pushed the darks a little darker and added a little highlights here and there, overall I am happy with the results.  I hope you enjoyed this one, thanks for stopping by!

"Garlic"

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"Garlic"

8 x 16 in

Oil on Canvas Panel

Thanks everyone for responding to my interests of streaming online demos I'm happy with the response, I was also thinking of holding some classes through an online deal let me know if anyone is interested in taking a course!?  This is still in the infancy stage I have too familiarize myself with the whole online streaming deal but it does seem fascinating.  

I went to the farmers market and saw this garlic standing upright and looking so proper in a way, of course I had to buy it and paint it.  I never seen garlic in this stage with a sort of stem elongated I have just enjoyed the diced garlic meshed in with my pasta!  I started this painting with a dry brush approach using no mediums just raw umber to get a fairly accurate drawing.

I concentrate in one area only and then move on too the next, I like to start with the darkest values first in this case I'm using ivory black, titanium white, permanent rose, and cadmium orange.  You can see with these pics the progression I go from the beginning of the section towards the end, you can also see when I start getting into the middle and lighter values using titanium white, permanent rose, and cadmium yellow light.  I've also stated the cast shadow to using ivory black to make the edges disappear where they need to recede.  I must point out that its crucial to finish each stage the best to your ability the whole point of this technique is to devote all your concentration in each stage and move onto the next.

After taking the garlic to a finish I started on the stem again starting with the darkest values first using ivory black and moving towards the middle and lighter values using viridian, cadmium yellow light, cobalt blue, and titanium white.

Then I established the background in order to push the edges of the garlic where I needed them to be, I used cerulean blue, naples yellow, and titanium white.

After the background was done I started with the base and worked on the cast shadows using cerulean blue, burnt sienna, cadmium orange and ivory black.  Once they were taken to a finish I worked on the rest of the base and also making sure to handle the edges with a lot of sensitivity, I can not stress enough how important edges are if you vary your edges from soft to hard you will see such a difference right of the back.  Take time and carefully observe your edges and how you can manipulate them to your advantage.

This is the finished painting, the size was an obstacle in the beginning but I knew I wanted to have it in this format to properly compose this delicate food specimen.  Thank you for stopping by I hope you enjoyed this painting as much as I did!  

"Purple Pepper"

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"Purple Pepper"

5 x 7 in

Oil on Canvas Panel

Hi everyone sorry for the lack of post I have been really busy getting ready for Michael Kleins workshop this Friday I'm so excited!  I also wanted to let everyone know that I recently did an interview with a really nice lady her name is Jill Metz you can read the interview here, it was my first and lots of fun!  I am also thinking of doing an online streaming demos and seeing if anyone is interested in seeing those as well let me know if your interested?

I started with a dry brush approach to the drawing stage using no mediums and just raw umber, when the drawing is done I started on the darkest values using ivory black, permanent rose, and quinacridone magenta.

I then established the middle and lighter values which was tricky thing to do because of the textures within the pepper, I used viridian, cobalt blue, naples yellow, cadmium yellow light, and titanium white.  The difference between the two pics is the edges differ from one pic to the other also the values are pushed a bit further to turn the form.

Then I added the lighter values or highlights just using titanium white, once the pepper was done I started on the wooden base using ivory black, cadmium orange, and cadmium red light.

Then I added the middle and lighter values to the top of the base using cerulean blue, burnt sienna, naples yellow, and titanium white.  The last stage I added the background using cerulean blue, naples yellow, and titanium white then I went around and softened the edges and took it further in some areas to  experiment more with it.  Edges as I stated before in other postings will make or break your painting how you treat it will also determine the style of your painting, its a tricky line to walk on but always remember  to pay close attention to them and take your time.

With the background you can see that I added more of the cadmium yellow light and naples yellow to relate the colors to the background.  I had fun painting this one and hope you enjoyed it as well, thanks for stopping by and viewing!

"Kiwi's

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"Kiwi's"

5 x 7 in

Oil on Canvas Panel

I really like the way you can compose the slices of these kiwi's and also show the vivid greens within, needless to say after painting them I had a nice treat for the hard work!

I started with a dry brush approach for the drawing stage no mediums just a bit of raw umber on the brush.  I then added the darkest values to the slices using ivory black, I'm starting with thin layers and progressively getting thicker to get the consistency and opaqueness that I want.

Then I added the middle values to the slices using burnt sienna, cerulean blue, and titanium white.  Then  I added the lighter values to the slice facing outwards, I used viridian, cadmium yellow light, cobalt blue,  naples yellow, and titanium white.

Then I added the background once the kiwi's where complete using cerulean blue, naples yellow, and titanium white.

Then I added the base after the background was painted using burnt sienna, cerulean blue, and titanium white.  This painting was a lot of fun and quick to do, I hope you enjoyed this painting thanks for stopping by and viewing!