"Baby Eggplants #2"

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"Baby Eggplants #2"

6 x 6 in

Oil on Canvas Panel

This is another painting of the delicious and elegant eggplants, I thoroughly enjoy painting their smooth skin and bringing out their deep colors.  The composition was also an incentive to paint another version of it.  The more I paint these guys the more I like them and can see how much character they have.  

I started with a bit of raw umber on the brush and no mediums for the drawing stage.  Once thats completed I started on the first eggplant using the same mixtures as I did with the previous painting.  At this stage I'm only concentrating on big form modeling making sure the lights wrapping around the form, then I add the general colors that wrap around the form with the big form modeling.

Once the big form modeling is completed I start to add the smaller forms or the details, this stage goes quick because a lot of the work gets done with the big form modeling stage.  I then start on the stem doing big form modeling first with the overall color.

After big form modeling is complete I start to add the darker and lighter values.

Then I add the second stem doing the same procedure as I did with the previous one.

Then I add the body of the eggplant doing big form modeling first, worrying about the general colors first and how light wraps around the form.  Remember this stage is essential to get right, you have to understand how light effects the form and the degree of values that go with it.

Then I add the lighter and darker values of the smaller forms and bring it to a finish.  Once the baby eggplants are completed I move onto the base and background and paint them in at the same time.  When adding the background I'm constantly aware of edges and how soft they have to be in certain areas, edges is another section where you have to pay close attention to.  

With the base I painted the general colors and stated the general statement of light which is big form modeling.  Then added the smaller forms with darker and lighter values.  This technique sounds pretty simple which is, but you have to understand that these steps are essential in getting the form painted right.  Its all understanding how light effects and object and seeing the subtle values between each form.  I hope you enjoyed this one, thanks for stopping by and viewing!

"Baby Eggplants"

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"Baby Eggplants"

7 x 5 in

Oil on Canvas Panel

I really like the smooth texture and soft value shifts eggplants have, I think they have so much character to them.  I wanted to play with these two baby eggplants in telling a subtle story between them, almost like the characteristics of their texture and shape.  The color shift from a deep red to a subtle violet is to good not to paint, it's always one of those things that attracts me to paint.  To me these guys are an elegant and smooth fruit to paint.

I started with just a dry brush of raw umber on the brush and no mediums for the drawing stage.  After the drawing was completed I started on the first egg plant, concentrating on bigger form modeling first going from darks to light.  The colors I used is ultramarine, quinacridone magenta, naphthol red, and ivory black.  

Then I added the lighter values and highlights just mixing titanium white to it.  I'm not one hundred percent with this stage but I want to move onto the stem, I will revisit this area once more.  Then I start on the stem doing the same concentrating on the bigger form modeling first.  the colors I use is viridian, cad. yellow pale hue, ultramarine, and titanium white.

After the bigger form modeling is working I then apply the smaller forms or details, first starting with the darks and then doing the lighter values.  Then I start on the second baby eggplant using the same mixture as I did with the previous one.  

At this stage when I finish doing the bigger form modeling I go back to the first baby eggplant and finish up the areas I left.  Then when thats completed I go to the second baby eggplant and add the smaller form modeling, which is just little details here and there.  I then start on the stem by doing big form modeling first, I'm also using the same colors as I used with the other eggplant.

Then I add the details or smaller forms to the stem and take it to a finish.  Once the baby eggplants are completed I move onto the top of the wooden base, I start with an overall direction of light and color value shifts.  The colors I'm using at this stage is cerulean, yellow ochre, raw umber, titanium white, and ivory black.

Then I add details on top of the base and also start to add the general colors to the bottom of the base.  The colors I used there are ivory black, raw umber, and cad. orange.  After the general colors are stated I add the smaller forms and take the wooden base to a finish.

I finish the painting by adding color to the background, the colors I used are cerulean, naples yellow, and titanium white.  When painting this area I'm constantly aware of all edges and how soft and hard they must be, remember edges can make or break you'r painting pay close attention to them.  I hope you enjoyed these baby eggplants, thanks for stopping by and viewing! 

"Parsnip"

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"Parsnip"

6 x 6 in

Oil on Canvas Panel

Parsnips have an interesting look to them, their shape and rough skin textures make them intriguing to paint.  I also enjoy painting on top of the under wash thats applied to the canvas prior to the alla prima session, it creates a vignette for the final painting.  I also like the movement this parsnip creates with its silhouette, seems as if it's blowing in the wind. 

I started with a cool grey wash underpainting from golden acrylics number 6, I did the drawing with raw umber and no mediums.  After the drawing is completed I stated the bigger form modeling, I made sure to paint the local colors first and make them turn with the light.  The objective of this stage is to get the main colors stated with out putting any details, then to state the light source and how it turns with the form.

Once the form is turning with the overall light I start to put down smaller forms for the middle to darker values.  I'm making sure they're working within the overall value statement of that section, that's the whole point getting the bigger form stated first so it can serve as a blue print for the smaller forms.

Once I've added all the smaller forms to the darker values I slowly start creeping up to the lights.  I start to add a bit more color to the middle values and some in the lights, while I do this I'm making sure to keep it turning with the bigger form.  

Then I concentrate on the lights and add the smaller forms.  Once the parsnip is completed I move onto the wooden base, doing the same procedure as I did with the parsnip concentrating on the overall fall of light first.

Then I add the smaller forms with dark and lighter accents to take the painting to a finish.  This was such a fun painting to do, l thoroughly enjoy capturing the lights and trying to render the subtle values.  I hope you enjoyed this one, thanks for stopping by!

"Beet"

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"Beet"

5 x 7 in

Oil on Canvas Panel

I decided to paint these subtle values due to there natural light appearance, the colors and values has a subdued look that I was trying to go for.  It's not easy to paint this type of lighting and glad I forced myself to do so.  As you can see I also started with a under wash painting as I did with the previous painting, the same situation occurred with the turps lifting with the paints.  It's always a great challenge to paint through situations that one's not used to.  

I started a drawing over the wash I previously applied the night before using raw umber and no mediums.  After the drawing was complete I moved onto the beet and concentrated on big form modeling, stating the local colors and how light wraps around the form.  I'm not concentrating on details at this stage just the overall form.

Once the bigger form modeling is complete I start to concentrate on the smaller forms wit the middle and darker values.  I make sure they smaller forms and their values are working with the larger forms.  

Then I do the same with the lighter values, applying more colors and still working with the bigger form modeling.  Then I start to add the smaller forms modeling them into the bigger forms.  

Once the beet is completed I start on the background and wooden base, I state both of them at the same time to get the general feel.

Then I apply the details or smaller forms when the local colors are already stated.  I really like the simplicity of the painting, as stated before the colors and values are subdued.  It was hard not to state strong chroma colors to pop it out, I had to stay true to my subject and learn how to paint such subtle light on an object.  I hope you enjoyed this painting and thanks for stopping by!

"Baby Pineapple"

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"Baby Pineapple"

7 x 5 in

Oil on Canvas Panel

I never knew these guys existed a baby version of a pineapple, I was seriously laughing in the middle of the grocery store when I saw this.  Of course it was to go not to paint, its just such a neat looking fruit with its miniature size.  Its overall colors are pretty subtle, the yellows are the only intense chroma on this fruit.  I also wanted to play again with a wash in the background by just using turps, and burnt umber.  I like the look it gave it, more of a rustic look than what I expected.  

As stated before I did a wash of turps and burnt umber the night before on the panel, I let it dry and the next day I used it.  I don't mind doing this but I think a longer drying time is better, I found my black sinking right away and also the paints did not lay in a consistent manner I'm used to.  I did the drawing with a bit of raw umber on the brush and no mediums.  When the drawing was completed I started on the round shape of the pineapple, I just concentrated on the form and how the light turned with it.  I stated the general colors that turn with the form which is also know as big form modeling.  Once that's stated I go back to the darker areas emphasizing the darker shapes, and start to add the smaller forms.  

Then I move into the middle and lighter values doing the same as I did with the darker values, always adjusting the intensity of the chroma and hue to the overall value of the form.  The bigger form modeling is a blue print on how light and dark my smaller forms can be.  The colors I use are ultramarine, burnt umber, cad. yellow pale hue, cad. orange, cerulean, and titanium white.

Once the pineapple is completed I start on the leaves, I apply a scumbling effect of the local color emphasizing the direction of light.  Then I state the darker values to give more turn of light with the overall form.  The colors I'm using is viridian deep, cad. yellow pale hue, and burnt umber.

Then I apply the lighter values tie-ing together the leaves with the two values, when doing this I'm constantly thinking the overall effect of light wrapping around the form and its edges.  I also start work on the base which is pretty simple just using burnt umber, ultramarine blue, yellow ochre, and titanium white.  This was such a neat little painting to do although the wash in was a bit of an obstacle to work with, I learned how to work around it.  I hope you guys enjoyed this baby pineapple demo, thanks for stopping by and viewing!

Elizabeth Taylor

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"Elizabeth Taylor"

4 x 4 in

Ball Point Pen

I've had this drawing for a while and due to the recent events I remembered about it.  I did this drawing a couple years ago and just put it in the closet and just forgot about it.  Elizabeth Taylor was an amazing actress and her beauty is timeless, I hope with this drawing I was able to portray those traits.

"Apple"

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"Apple"

6 x 6 in

Oil on Canvas Panel

This delicious apple caught my eyes because of its colors that blended so well with each other.  I really like the subtle transitions these two colors create in the middle values.  I also wanted to mention that this canvas panel was provided by a great artist and friend Elaine Stolt, she toned it with golden number 6 grey acrylic wash.  I was a little skeptical at first painting on it due to the uneven wash, but I ended up really liking how it meshed well with the painting.  

I started the drawing stage with a bit of raw umber on the brush and scumbled the drawing on.  When the drawing was complete I stated the big form modeling first, I painted the general colors that wrapped around the form.  This stage is important to capture the light and make it turn with the form, when done correctly the details easily come afterwards.  The colors I'm using is cad. red light, naphthol red, cad. yellow pale hue, viridian, and ivory black.

Once the bigger form is turning and I have the general colors turning with it I then narrow each section down.  I first start with the middle to darker values, I add the smaller forms making sure they're working well in the value stage with the bigger form.  The bigger form gives me all the answers I need as far as values go, when I apply the smaller forms I need to make sure they're not to distant from what I stated with the bigger forms.  I also do not apply thick paint in the beginning with big form modeling, this allows me to control the consistency and layer as much to get the look I'm going for in the final stages.  I then shift to the highlights, applying smaller forms and making them work with the other forms I've stated.

Once the apple is completed I move onto the base, I apply the general color tone and how the light shifts.  Once thats completed I then start to add the smaller forms and make them work with the values that I've already stated.  At this stage I'm in the middle to darker values and slowly moving to the lights.  The colors I used are yellow ochre, cad. yellow pale hue, raw umber, ivory black, and titanium white.

Then I added the lighter values and highlights, again making sure they're working in correspondence to the values I stated with the bigger form modeling.  I decided to leave the background alone because I really liked how it looked in contrast with the painting.  The gestural feel and how it somewhat balances the design of the apple made it an easy choice to leave it alone.  I hope you enjoyed this one, thanks for stopping by and viewing!

"Cauliflower & Brussel Sprouts"

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"Cauliflower & Brussel Sprouts"

8 x 10 in

Oil on Canvas Panel

This cabbage and brussel sprouts stood out to me when I was at the grocery store, their unique shapes and soft colors attracted me too them.  Cauliflower in itself has so many intricate shapes to them, trying to paint it was more than a challenge.  I really do love the soft and subtle colors the brussel sprouts show on their skin, I believe these two subjects go well together for this painting.  Another aspect to this painting I was trying to tackle was emphasizing on modeling the lights.  Concentrating on bigger and smaller form modeling is a great way to capture the essence of light wrapping around the form.

I started with a dry brush approach for the drawing stage using minimal paint on the brush.  Then I started on the cauliflower itself first concentrating on big form modeling, at this stage I'm just worried how the light's wrapping around the form with general colors.

Then I hone down in the shadow sections adding smaller forms that correspond to the bigger form modeling.  The smaller forms have to work with the lights from the bigger form in order to make the overall light believable.  It's a tricky idea to understand but its quite simple overall, once you can see the general colors and light wrapping around a form then colors and details become easier to understand.

I carry the smaller forms or details tot he lighter section of the cabbage, I'm going back and forth from the darks to the lights and adjusting what needs to be.  Then I start adding the leaf that came with the cauliflower, doing the same as I did with the cabbage stating the bigger forms first.    

I then move onto the brussel sprouts and do the same.  What I'm trying to show is how important it is to model the bigger forms, if you can get that right in the beginning then the details or smaller forms become easier to illustrate.  The smaller forms have to work in conjunction with the bigger form modeling in order for it be believable.

Then I add the wooden block and start seeing the painting come together.  I add the colors really thin stating the lights from light to dark. 

Then I start to state the shadows and middle to darker values, which in turn I start to describe more of the details.  Then I start on the lighter values and tie them in with the middle to darker values.

I go back into the cauliflower and state the middle to darker values giving an atmospheric mood, this also emphasizes the light and turning of the form.  Then I go back into the brussel sprouts and do the same as I did with the cauliflower.

Once thats completed I move onto the background and use naples yellow, cerulean blue, and titanium white.  This is the completed picture of the painting, I'm glad I kept painting away at this painting.  It was tough to finish in certain areas due to the subject matter, but like I said I'm glad to have stuck it out and finished it.  I'm really happy with the finish result and hope you enjoyed the process.  Thanks for stopping by!

"Creme Brulee"

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"Creme Brulee"

5 x 7 in

Oil on Canvas Panel

I wanted to stay on the subject of painting pastries and desserts.  Other than trying to paint there textures I do love eating them when I'm done, it's a guilty pleasure but worth every bite.  What attracted me to paint this dessert was its subtle color shifts in the brulee, I've been wanting to capture more subtle values and how to render them.  The deep reds that are in the raspberries where also an incentive to paint, I did miss painting them especially after painting golden raspberries.  What I try to achieve when I paint is painting light and texture on the subject, to me thats fun part of painting.  

I started with a dry brush approach to the drawing stage by just using raw umber.  When the drawing is completed I moved onto the raspberries, the colors I used are cad. red light, cad. red, ultramarine blue, and ivory black.  For the beginning stages of the raspberries I wanted to get the value shifts of the colors, I basically thought of it as modeling the bigger form first.  I state the obvious colors first shifting from lights to darks, I'm not worried about stating details yet just getting an overall color shift in modeling the bigger form.  

Then I go back to the darks and start adding darker accents where they need to be and also start to add a bit of details.  I do the same when I get to the lights, I do this in moderation to build up the two areas together.  For the lighter part of the raspberries I us cad. red light, cad. orange, cerulean, and titanium white.  At this point I'm stating the details in each area but I'm still keeping true to the big form modeling, making sure its working with the light wrapping around the form.

Then I move onto the next section doing the same stating the local colors first and the shift of its values from dark to light.  When thats working I start stating more details and make it work with the overall shift.  When I state the local colors and the details I'm making sure I start thin with my paints and build up where they need to be.  The colors I used for this section is cad, yellow light, naples yellow, cad. orange, raw umber, ivory black, burnt sienna, and titanium white.

Then I move onto the cream doing the same stating the local colors first and modeling the bigger form.  I used ivory black, cerulean blue, and titanium white.  

Then just added the details and made them work with the bigger forms.

I then moved onto the rim of the brulee using the same colors and getting the overall color shift, once that was stated I just added the subtle highlights and darks to finish it.

This section is a prime example of what I mean about doing a general statement of colors and stating the bigger form.  Once that was working I then started to add a bit more detail to it, and making it work with the light and how it wraps around with the form.  

When I got to the end of this section I was just adding subtle details and highlights to take it to a finish.  As you can see I always keep true to the overall form and how it works with the light.  Then I stated the base and its cast shadows.

I took the painting to a finish after stating the background, I used ultramarine blue and titanium white.  I was very happy with the completion of this painting, not only because I was done but because I was able to finally eat the creme brulee.  I was also happy because it was nice to get back to basics with big for modeling, sometimes I like to skip these steps and get to a finish which is not the best way at times.  It's good to get back to what works and understand how it can better your paintings.  Thanks for stopping by and viewing, hope you enjoyed this one!