"Pear"

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"Pear"

7 x 5 in

Oil on Canvas Panel

This pear caught my interest when I was at the grocery store, the reds and yellows bleeding into each other was to good to not paint.  The blend of these colors reminds me the change of seasons, which I am really excited for.  The winters up here in Minneapolis gets to be to long at times, and this year it seems to be longer than usual.  I know its only January but its been snowing like crazy and really cold, I'm anxiously waiting for the change of seasons.  On the flip side this type of weather is perfect for staying in and painting, so I really can't complain.   

I started with the traditional approach of using no mediums and just a bit of raw umber on the brush for the drawing stage.  After the drawing stage is completed I started on the middle to darker values first.  As you can see with the second picture I start with a very thin application of a cad. yellow and raw umber for the mixture. 

Then I start stating more of the local colors and darker values as well, I used ivory black, raw umber, cad. red light, cad. orange, and cad. yellow light.  I'm starting really thin for the beginning stages of the application and also placing the colors in the correct areas.  If you just put the wrong value and chroma in an area and build up to the right colors, your paints are going to get thicker quicker and your not going to be able to control the look your going for.  Unless you really like painting really thick then its not a problem.  I try to state the colors in the right areas and build up to the look I am going for from thin to thick.

Then I start adding stronger chroma's of cad. red and cad. orange.  As you so can see I work up to my lights, I kind of sneak up to them.  This allows me to control the look I'm going for with the stroke and chroma.  Then I add lighter values or highlights by just applying titanium white, I add these strokes thin then go thicker to get the gestural strokes I want.  After the pear is finished I move onto the base by stating the darker to middle values first.  I use ivory black, raw umber and burnt sienna.  For the middle to lighter areas of the base I use the same mixture but go really thin with the raw umber which gives me a lighter value first, it I want the value of the raw umber to go darker then I press harder with brush and its also gets more opaque.  Think of it as drawing with a pencil, you can control the tone of the graphite by lightly pressing on the pencil, then applying more pressure to get a darker tone.  It's the same principle when I paint.

I then added the background after the base was completed, I used cerulean blue, titanium white and naples yellow.  I've noticed I like adding the background later now, I used to like adding it in the beginning but now I find it beneficial to do it later.  Reason being I can control the edges of the objects better and when I add the background I can easily work into the edges.  I jump back and forth from stating it in the beginning or later, for now I like doing it later.  Thank you for stopping by and viewing, I hope you enjoyed this one.

"Nectarines"

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"Nectarines"

8 x 10 in

Oil on Canvas Panel

Hi everyone its been a while since I last posted, I've been adjusting to some changes and glad to finally get to a rhythm of painting.  It's important to me no matter how busy life gets to always keep painting, its something that I love and have a passion for.  I'm sure all of you guys can relate if you don't paint for a while you feel as if somethings wrong.  That being said it feels great painting these guys again, it was a little challenge painting these nectarines but I love that adrenaline of getting it done in one session.  The skin of these nectarines have so much subtle details within them, it's a great exercise trying to paint them.  The intense reds and yellows also make them attractive to paint, the hints of these colors spread through out the fruit makes them unique in their own way.  

The drawing stage is started out with a bit of raw umber on the brush and no mediums.  After the drawing stage is completed I started on the first nectarine on the left.  I started with the middle to darkest values first, using cad. red light, cad. orange, raw umber, and ivory black.  I start really thin with my application and only put more paint if I want it to be more opaque and stronger in chroma.

After my darks are taken to completion I them move onto the middle to lighter values.  Again starting thin and going thicker if needed.  The colors i'm using in this stage is cad. yellow light, cad. red light.  

Then I add the lightest lights or the highlights which is just titanium white.  I am constantly reapplying the same technique of starting really thin almost a dry brush approach and going thicker in the areas that need more of an opaque look.  This allows me to control the value range, the softness of each edge and also the thickness of the paints.  As you can see with the start of the second nectarine after I completed the first one, I state the colors and its values in the right areas and mold it from there.  I do not apply excessive paint that will make everything to muddy, I want to build up to the look I want with the paints.  

Then I keep molding the paints into the look and exact placement of each shape.  I am also stating smaller details or smaller shapes with thin paint and getting thicker if need be.  I dab in the correct area and soften the edge or make the edge sharper if they need to be.  It's all what the subject calls for and what your willing to paint, you just have to push yourself and stay true to the subject.  Painting this way also demands a lot of patience, its not easy to build up to this look in a quick manner.  

After the highlights are stated, I started on the cast shadows and middle values on the base.  I used ivory black, and raw umber for the main colors in this area.   

Then I moved onto the bottom of the base using the same palette including cadmium orange.  For the highlights I used titanium white, cad. yellow light and a bit of cerulean.

Then I stated the background after the base was completed.  I used cerulean blue, naples yellow and titanium white.  I softened some edges and kept others crisp when filling in the background.  It felt good getting one of these done again, I tried to go back to the stages I paint and how important it is to do it in that way.  I noticed when painting in this manner of taking each stage to a finish I was able to concentrate fully and paint it better rather than painting everything at once and not doing such a good job.  This method does not work for everyone, but for me it really helps and I enjoy the outcome of it.  Thanks for stopping by and viewing, I hope you enjoyed this one!

"De Leche Puffs"

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"De Leche Puffs"

7 x 5 in

Oil on Canvas Panel

Hi everyone I could not resist the urge to paint another delicious dessert pastry.  I saw this one and could not get my eyes off of it and of course had to paint it.  I was hesitant to paint this one due to its complex textures and how much detail in every little section.  Needless to say this was a huge challenge to paint in one session, but I'm glad I did so I learned so much.  It was a lot of fun painting the drips from the chocolate and the intense yellows and subtle oranges through out the dessert.  I think it's an understatement to say I was eager to eat it when I was done.

I started with the usual dry brush approach for the drawing stage, using a bit of raw umber on the brush and no mediums.  Then I went straight into the dark chocolate area of the dessert, I started with the darker values using ivory black, raw umber and burnt sienna.  Then I added the lighter values using cerulean blue and titanium white.

Then I started on the first pastry area by just dry brushing the middle and darker values, I used naples yellow, cad. yellow light and raw umber.  Then I added the darker chocolate drips with ivory black and raw umber.  I'm constantly going back and forth the darker and lighter values pushing the chroma's and hues.  I'm always aware of the pressure I'm applying and the amount of paint I'm putting down. 

I repeat the same process with the second section.  Always starting light and working up to my values in the darks and lights.  I always find better control when I work up to the desired look I want, instead of just boldly putting it down.  

Even with the third section you can see i'm still keeping it really thin, its just i'm applying a bit more chroma to the mixture.  With the third picture here you can see i'm worried more about the turn of the form and getting that right before I move on.  

It's important to understand form and how light turns with the form.  The answer is not in the details, it's understanding how the form turns with the lights.  Then I started on the pineapple middle section, just by adding the local colors and making sure they are turning with the form.  I'm keeping it really thin in this section as well.

Then I start on the cone area and just do an overall lay in of the area to get the local colors right.  Once thats correct I go in and start adding details to the cone, when adding details i'm constantly noticing how the lights is affecting each area.  

Once the cone is completed I proceeded to lay in the background using cerulean blue, naples yellow, and titanium white.  When doing the background I'm able to soften some areas of the pastry and sharpen other areas.  Then I add the base by using ivory black, raw umber, burnt sienna, cad. yellow light, cerulean blue, and titanium white.   This painting was very difficult to paint in one session, the textures and the amount of attention each area needs was a big challenge.  I enjoyed playing around with different types of textures and seeing how I can paint them to the best of my ability.  I have to say eating them was much quicker and more enjoyable in the end, it was a great treat for a long day.  Thanks for stopping by and viewing, hope you enjoyed this one.  Bon Apettite!

"Dipped Strawberries"

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"Dipped Strawberries"

7 x 5 in

Oil on Canvas Panel

Hi everyone, I've been really busy again and glad I was able to paint this delicious cheesecake.  I love how the dripped strawberries wrap around the cake, it looks alive.  I also wanted to capture the glimmer part of the strawberries, it's smooth, beautiful and delicious.  With this painting I wanted to show how important the co relation of drawing and painting is.  It's vital for a painter to know how to draw and the dynamics of being a good draftsmen, in order to become a great painter.  There's so much similarities between the two that we overlook at time, its right in front of us we just have to learn how to see it.

I started with the usual dry brush approach using no mediums and just a bit of raw umber.  Then I started  really thin with oils using just cad. red light to give a thin base.  

Then I started to introduce some darker values and middle values using ivory black and raw umber.  Then I started to add some highlights with titanium white.  The point of this approach is to work slowly to the highlights and have control from one value to the next.  It also depends on the pressure one applies to the brush.  Always starting light for a lighter value and press a little harder if you want more paint and opaque values.

Then I repeated the same approach to the second strawberry starting out very thin and building up to the thickness I want. 

I'm also developing the creamy area around the strawberry, starting very thin and at times pressing harder with the brush if I want it to be darker or opaque.

Then I added the body of the cheesecake using naples yellow, raw umber and titanium white.

I use the same mixture for the bottom of the cheesecake just adding a bit of ivory black for the darks.  I'm also going back and forth between the strawberries touching them up incase I missed anything.  When I start focusing on another area and go back to the area I finished painting, I have a fresh eye and able to see if I have to tweak certain areas.

Then I add the background colors using cerulean blue, naples yellow, and titanium white.  I added in the later part of the painting this time, I noticed I liked adding it in this stage.  I'm able to control the edges more when I add the background later, giving me more control on how soft I can go.  Then I add the base after finishing the background, I used cad. orange, raw umber, titanium white, naples yellow and ivory black.  This painting was fun to produce, I challenged myself to go back to basics.  The important thing is to always learn and keep pushing yourself to the next level.  Thanks for stopping by and viewing, hope you enjoyed!  Bon Appetit!

"Row of Cherries"

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"Row of Cherries"

5 x 7 in

Oil on Canvas Panel

Hi everyone this is the another cherry painting I've done, with each of these paintings I do I find a new way to paint them.  What I did with these especially was to not apply too much paint that I did not need. I was able to apply the correct colors in the right areas and treat them like a gesture drawing.  Going with the flow of movement from one stroke to the other, when you have a good overall movement I believe the painting in turn will be stronger.  Also with this approach it allows you to not overwork areas that can easily be done.  

I started with the traditional dry brush approach to the drawing stage using raw umber and no mediums.  After the drawing stage was completed I filled in the background using cerulean blue, naples yellow, and titanium white.

I then started on the first cherry stating the middle and darker values first.  I used ivory black, raw umber, and cad. red light.  At this initial stage I like to put the right values in the correct spot and state it with gestural strokes.  From there I can easily just put the right colors in the right areas and blend where it needs to be blended and make other areas a bit more hard edged.  

Then I add the lighter values and highlights using cerulean blue, and titanium white.  I do the same approach to this stage as I did with the previous stages.  Then I start on the second cherry using the same approach with the first cherry and also the same palette.  

I repeat the same process with the third cherry from beginning to end.

And the same goes with the fourth cherry, by this time I have a pattern going stating the right colors in the right spot and from there blending areas that need to be blended.  With this approach it allows me to not overwork areas and have a fresh look to the paints.

Then I start on the wooden base using ivory black, cad. red light, and cad. orange.  

Then I added the lighter and middle values using burnt umber, cerulean blue, and titanium white.  This painting was fun to paint, I love when I'm able to just go at it with the paints all day and experiment with different approaches.  It's funny how painting has so many levels in which it can communicate itself, we have to find that right one that expresses what we're trying to say.  Thank you for stopping by and viewing, hope you enjoyed this one.  

Alla Prima Portrait

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"Silvia"

11 x 14 in

Oil on linen 

I started this portrait today at a portrait painting co op around the cities.  It was a lot of fun painting this one today, the model Silvia was this very eccentric older lady that has very strong bone structure in the face.  Her facial features especially her cheekbones are very pronounced.  I loved painting her hair it had so much character to it.  I also loved being so gestural with the paints, it was a lot of fun experimenting how gestural and limited I can be at one time.  Needless to say this has been one of my favorite alla prima portraits i've done.  This portrait was painted in three hours.  

These are process pics, sorry for the poor resolution these where taken with the camera on my phone.

The final pic

"Simple Cherries"

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"Simple Cherries"

5 x 7 in

Oil on Canvas Panel

This cherry painting was so much fun to paint.  I really enjoyed playing with the simple background and trying to get a nice design out of it.  These dark cherries have a deep red imbedded in their skin, its beautiful to see how the reds jump out.  The skin being somewhat dark also receives a lot of reflected colors from it's surrounding.  It's fun to see how I can mesh all these colors together and make it look like a cherry.

I started with the usual dry brush approach using no mediums and just a bit of raw umber on the brush.  I use no mediums throughout the whole painting, there's enough linseed oil that comes in the tube i'm fine with just that.  After the drawing was established I started with the first two cherries on the left hand side of the painting.  I used ivory black, and cad. red light for the middle value stage.

I reinstated the darks and also enhanced some of the reds.  I start really thin in a scumble approach and after start to go thicker in areas that need it and also build up the opaqueness of the paints.  

I then apply the highlights which was cerulean blue, and titanium white.  I'm also stating the stem of the cherry with a bit of yellow ochre, raw umber and ivory black.  Then I start the third cherry in the same manner as I did with the previous two.  I scumble the beginning layers and slowly build up to the hue I'm trying to achieve.

Then I added the darker values of the cherry and also the middle and lighter values.  I'm constantly going back and forth till I get the look I'm going for.

I apply the same approach to the fourth cherry, at the same time i'm handling the cast shadows and their edges.  If you haven't noticed I left the background white, I did this before with another painting and really like the simplicity of it.  It's very interesting to play with the design of the overall picture when left with so much white space.  I hope you enjoyed this one and thanks for stopping by and viewing.

"Cherries"

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"Cherries"

5 x 7 in

Oil on Canvas Panel

Hi everyone Happy New Years!  I wanted to say thank you to everyone for making last year so great.  With all your help I was able to achieve so much as far as winning the daily painters competition and so much more.  Thank you for making my year a great one!  I wish all of you a great new year and can't wait for what this year holds for all of us. 

This painting is my first one back from the holidays, it feels so good getting back to it.  Cherries have so much character with their stems and also their colors that are deep within the skin.  I'm really interested to explore more of these guys as far as composition and color harmony.  

I started with a dry brush approach using no mediums and just a bit of raw umber on the brush.  After the drawing was completed I moved onto the background using cerulean blue, titanium white, and naples yellow.

Then I started with first cherry stating the middle darker values using ivory black, and cad. red light.  Then I paint the darkest darks by applying ivory black, and also reinstated the lighter middle values using cad. red light.  

Then I added the lighter values or highlights by using titanium white, and cerulean blue.  I repeated the process with the other cherries and using the same palette.  

I do the same process with the fourth cherry, starting rather thin and building up to the textures and look I want with the painting.

I added the middle and darker values by going a bit thicker with the paints to give it some opaqueness.  

I then added the highlights which also means adding textures which will give the look i'm going for.  

I repeated the same process with the grape to the right.  I also started the wooden base by using ivory black, burnt umber, and cad. orange.

Then I added the lighter values of the base by using titanium white, naples yellow, cerulean blue.  This was a fun painting to do for coming back from the holidays, I've been really busy trying to get back to the swing of things.  I really don't like having so much time off painting, it makes me feel so out of it.  I'm excited to get the other started and get back to the swing of things.  Thanks for stopping by and viewing.