"Propped Squash"

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"Propped Squash"

8 x 10 in

Oil on Canvas Panel

Well I'm glad this week is over, I'm extremely exhausted and can't wait to kick back and relax, in reality I'm going to be stretching canvases and painting which is relaxing as well.  I wanted to continue todays alla prima painting from yesterdays whimsical approach, I liked the dynamic of these two objects and how they can tell a story.  I'm happy to have painted these guys so much, I just love painting texture and seeing how I can better my technique with intricate areas.  Each of these objects have their unique textures to them you can't just apply the same approach to each of them.  I'm ready to move onto another subject matter it was fun though painting these two guys, hopefully I'll paint them again soon.

I've added pictures from a collaboration I did with a local artist name Peter Geyen, it was a project we were working on for a long time.  Essentially Peter does eight pieces to put on display in the busiest location in Minnesota, it's through a charity which is great because all the money goes towards them.  He approached me to help him out with a couple pieces and I gladly did so.  The only areas I helped out were the face in the first picture and the background which is in charcoal in the second picture.  I also did a painting of a sky for him to go along another painting, which he will use in the future.  Doing this type of project is something I haven't done before and I have to say I loved every minute of it, the collaboration between everyone was great so many ideas and to see so much good art coming out from different people was awesome to see.  I definitely went out of my comfort zone and loved every minute of it.  If anyone is around in downtown Minneapolis you should go see these pieces, they're great to see in person.  They are located in the IDS building in the main lobby, the pieces will be up for two weeks.

I painted the head on fiber glass which was interesting to say the least, i've never painted on that ground before and it was basically painting on glass.  

I did the background on the brown piece with all charcoal, the idea behind the landscape was to have a death valley feel.  He wanted lines to show cracks in the ground and hills in the distance, i've messed around with charcoal before but never like this, like I said before I loved every minute of the experience.  I'm excited to work on more pieces with Peter and see what else we can come up with.  Hope you guys enjoyed this one, thanks for stopping by and viewing.

These are the other pieces on the other side.

"Pumpkin on Top"

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"Pumpkin on Top"

10 x 8 in

Oil on Canvas Panel

I hope everyone is having a good day so far, I just finish painting this fun picture.  Balancing the pumpkin on top of the squash was a challenge and seeing how great they looked together you know I had to paint it.  As mentioned in the previous post I've been so busy lately and doing these have allowed me to slow down and just have fun.  It's great painting whats in front of you and play with the paints as best as you can, being so busy at times I just don't have the time for it.  I am realizing the more I do these when I'm extremely busy the better I feel after.  I've become addicted to doing these alla prima's which I don't mind and actually love doing.  I can see how doing these benefit my larger paintings that I'm currently working on and that was the whole plan from the beginning with these small guys.  

I apologize for not making process photos with this painting I'm really pressed for time so with the time I do have I get to paint it, take a photo and post it.  I did notice not doing process photos I went so much faster than what I usually go, which was nice to just go straight through a painting.  At the same time I do love sharing my process and my thoughts behind it, so don't worry this will not become a normal habit.  Thanks for viewing, hope you enjoyed.

"Pumpkin Stem"

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"Pumpkin Stem"

7 x 5 in 

Oil on Canvas Panel

I've been so busy lately with teaching and doing larger paintings, at times I literally feel like a chicken with its head cut off.  But with so much going on I'm glad I'm able to push myself further and get more done of what I want to do with my regular body of work.  These little alla prima's I consider to be a practice for me, I try to refine my technique as best as I can and explore different avenues as well.  My regular paintings have benefited so much due to these alla prima's, I recommend anybody to do these small paintings daily if they can and see how much you can benefit from it.

The stem of this little guy was to good no to painting, it gives so much character to an object that doesn't move.  I like revisiting these pumpkins because of their textures, they are pretty challenging to render but that's what draws me to it.  I've also noticed that I have been painting my recent alla primas with an orange and yellow palette, seems like the holiday season has been influencing my colors more that I would like to admit.  Either way those colors are challenging to control and glad I'm able to practice so much with them.

I started with the usual dry brush approach using no mediums and a bit of raw umber.  I was asked recently what mediums I use towards the end of my painting since I don't use any in the beginning, and the answer is I don't use any through out the painting.  I find I can achieve more with the paint straight out of the tube, and if you notice there's already medium in the tube with the paint.  Now with my larger paintings I use linseed oil to lift up sunken areas and work back into them, but I keep it to a minimum.  I know a lot of people that swear by mediums and can't work without them, which is not a bad thing if you know how to control them and properly mix them.  The problem occurs when you use to much which can lead to yellowing of your painting and cracking through time.  Like I said before I don't mind people that use mediums I even use some of it with my larger paintings, but keep it to a minimal don't depend on it for everything.  

Once the drawing is complete I state the background and wooden base with its general colors and big form modeling.

After the big form modeling is complete I start on smaller form modeling and break it in two sections, the first is the darker values with their specific forms.  Once that's complete I state the lighter values with their specific forms and highlights.  The colors I used for the background were ultramarine blue, naples yellow and titanium white.  For the base I used the same colors I did for the background in the lighter areas, then I used raw umber, burnt sienna, ivory black and cad.orange.

Once the base is complete I start on the pumpkin by stating the general colors and big form modeling, I'm only worried on how the light wraps around the form and not about details.  Once that's complete I start on smaller for modeling again breaking in two sections, starting with the darker values with their specific forms.  The colors I used for the pumpkin were cad.orange, cad.yellow light, ivory black, raw umber and burnt sienna.  

Then I state the lighter values with their specific forms and highlights, doing this brings this area to a finish.  I start on the stem by just laying down viridian and ivory black, since its such a smaller area and the overall value is dark I can easily work into it afterwards.

I pick out the lights by using naples yellow, titanium white and ultramarine blue.  By doing this I take the painting to a finish!

Picture of my setup with the finished painting.

"Seckel Pears"

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"Seckel Pears"

6 x 6 in

Oil on Canvas Panel

I saw these pears this morning at the grocery store and what really caught my attention is that they look like mini pears, they are literally half the size of regular pears.  Of course anything that seems out of the norm catches my attention and I have to paint it.  What also grabbed my attention with these guys are their textures, I wanted to examine them further with the paints.  I'm in this stage now that I want to push my handling in textures, I want to make the paint seem as its alive rather than over blended and dull.  That's the wondrous part of painting is that you can never be content, as for me I always try to push myself to get better and that's the beauty of these alla prima's.

Setup.

I started with the usual dry brush approach just using a bit of raw umber on the brush.  Then I stated the background and wooden base after the drawing is complete, I just concentrated on the fall of light and big form modeling with the general colors.  The colors I used in the background were ultramarine blue, naples yellow and titanium white.  The colors for the base were raw umber, burnt sienna, ivory black, ultramarine blue, and titanium white.

After the big form modeling is complete I started with the smaller form modeling, in this stage I like to break it up in two stages first starting with the darker values.  Then to finish the smaller form modeling stage I state the lighter values and their highlights.  

I start on the first pear after the wooden base is complete, again just stating the big form modeling stage with their general colors.  All I'm worried about in this stage is just turning the form with the light and general colors, not interested in details remember they are no use until the bigger form is working right.  With these pears since their overall values are darker handling the darker value stage is done when dealing with big form modeling, I only have to worry about the lighter values and highlights for the smaller form modeling.  The colors I used for the pears were viridian, ultramarine blue, naples yellow, raw umber, ivory black, cad.yellow light, burnt sienna and titanium white.

I repeat the same process with the second pear and take it to a finish.  

Another pic of the setup this time with the finished painting.  As you can see with my palette I don't use globs of paint in the beginning, I like to gradually build up to the thickness I'm going for.  I hope you enjoyed this one I know I certainly did, thanks for stopping by and viewing.

"Michael"

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"Michael"

10 x 8 in

Oil on Canvas Panel

I did this painting today of my friend after our conversation that I do not do enough figures and portraits.  I completely agree with him and had a great talk about art and the direction we wanted to take our art.  He ended up posing for me for the painting, it took two hours to complete.  I was so happy to start the painting, to say I was beyond motivated is an understatement. 

I'm also excited to announce I will start teaching at the Bloomington Art Center next week, if anyone is interested just click here for more information on my classes.  

"HeirloomTomato"

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"Heirloom Tomato"

6 x 6 in

Oil on Canvas Panel

It's good to be back in front of the easel after a long vacation, don't get me wrong I love vacationing but I don't like not being able to paint for that much of time.  I was at the grocery store today walking around seeing what can inspire me for todays alla prima, and I ran into a great looking heirloom tomato.  The shape of this heirloom is so unique, it resembles a balloon when it's being twisted.  One of the things I love painting the most is when the object does not look like what its suppose to be, its great trying to decipher it.  It feels great being back and painting hardcore again!

I wanted to share with you guys an article about me and the classes I'll be teaching at the Bloomington Art Center this winter, click here to view the article.  If you're interested in attending the classes just click here to find out more information.  I'll be teaching still life painting and figure drawing, should be a fun time overall I hope to see you guys there.

I started with the usual dry brush approach using no mediums and a bit of raw umber on the brush.  When the drawing is complete I stated the background and wooden base, I first started with the fall of light and big form modeling.  I only state the general colors going from dark to light and form the subject to fit the lighting thats given.  The colors I use were ultramarine blue, naples yellow and titanium white for the background.  For the base I used raw umber, red umber, ultramarine blue, naples yellow, titanium white.

Once the fall of light and big form modeling is working right I start adding the smaller form modeling, I start first with the darker values.  Once thats complete I state the lighter values and the highlights.

When the wooden base is complete I start on the heirloom tomato, I first concentrate on the big form modeling.  I'm not worried about details just the general colors and how the light wrapping around the form.  It has to look dimensional before adding any details to it.  Once the big form modeling is complete I start on the smaller form modeling, I first start with the darker values. 

Once the darker values are taken to a close finish I then state the lighter values and highlights.  The colors I used for the heirloom tomato were cad. orange, cad. yellow light, raw umber, ivory black, cad. red light, viridian, ultramarine blue, and titanium white.  I'm glad I painted this heirloom today it warmed me up with my process and really made me concentrate on big and small form modeling.  I hope you enjoyed this one, thanks for stopping by and viewing!

"Crab Apples III"

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"Crab Apples III"

8 x 10 in 

Oil on Canvas Panel

This is the last of the series of crab apples, I really enjoyed painting them and their textures.  They really force you to slow down and observe what you'r painting.   At times I know I go to fast and miss certain information that will improve the painting, with this series of paintings that was not the case.  I was really happy to also re-visit small and big form modeling.  It's essential for any artist to understand that concept of turning the form with light, to grasp the idea of how to turn the form and make it dimensional.  I'm glad I painted these guys and look forward to painting them again in the future.

I also wanted to let you guys know I'll be gone starting tomorrow for about a week on vacation to Miami.  I'm really excited to meet up with an old friend and just hang out, I might bring my painting equipment but still not sure.  I cannot fathom the idea of not painting for that amount of time, I most likely will but if you don't hear from me you know where I'll be!

I started with usual dry brush approach using a bit of raw umber on the brush.  When the drawing is complete I stated the wooden base and the table top along with the background.  The colors I used for the background were cobalt blue, naples yellow and titanium white.  When stating the base and table top i'm first concerned with the fall of light on the object, I do this by going from dark to light and stating its general colors.  I'm not concerned with the details at this point just transition of dark to light and also keeping the edges soft.

Then I state the smaller forms and break into two sections, first starting with the darker to middle values. Once that's complete I start on the lighter values and highlights.

Once the wooden board is complete I start on the first crab apple, again just worrying about big form modeling and not any details or smaller forms.  It's imperative to understand this stage in order for the smaller forms to work correctly.  With big form modeling I state the darkest to the lightest values, I do this in order to make the form turn.  If it's not turning in the big form modeling stage when you state the smaller forms you'll run into more problems than you should.  Once the big form modelings is complete I start on the smaller form modeling and again breaking it up into two sections, first starting with the darker to middle values.  

Then I state the lighter values and their highlights to finish the first crab apple.  I then move onto the other crab apples and work on them simultaneously, I do this because they're side by side and their values effect each other.  Again starting out first by just concentrating on big form modeling.  I usually take my time at this stage making sure the transitional values are working right, I'm not concerned in getting it done in a quick manner.   

Then I add the smaller form modeling once the big form modeling is complete.  Remember the only way small form modeling works right if the big form modeling is done correctly, the two go hand in hand. 

I take the painting to a finish after adding the stems, I enjoy leaving them till the end I think it gives them so much life.  I hope you guys had a clearer understanding of my approach with small and big form modeling.  I cannot stress enough on how important it is to understand that concept, at times I loose sight of it and see that my paintings suffer.  I hope you guys enjoyed this one as much as I did, thanks for stopping by.

"Steve Jobs"

R.I.P

"Chestnut Crab Apples II"

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"Chestnut Crab Apples II"

8 x 10 in 

Oil on Canvas Panel

I wanted to continue with these chestnut crab apples, I find them too adorable not to paint.  They have so much character due to their stem, they pose with a subtle hint of playfulness.  I also wanted to revisit big form modeling and stay true to the practice.  I find when I go back to what I was taught at the Angel Academy my understanding only improves to what I've learned so far.  

I started with the usual dry brush approach using no mediums and a bit of raw umber.  When the drawing is complete I stated the background and wooden base.  The colors I used for the background were naples yellow, cobalt blue and titanium white.  Then I filled in the wooden base by painting the fall of light from dark to light, I stated the general colors not worrying about putting in details at this stage.  The only thing I'm wanting to paint is the transition of values and keeping the edges soft.

Once the big form modeling is complete I state the smaller forms starting with the darker to middle values.  The colors I used were ivory black, raw umber and burnt sienna.  Then I stated the lighter values  with titanium white, yellow ochre, and naples yellow.  It's important to understand that the smaller forms would not work properly if the bigger form modeling wasn't done right.  Big form modeling is I believe more important than smaller form modeling, it creates the stage for the smaller forms to work with the overall values.  

Once the base is complete I start with the first chestnut crab apple and work on big form modeling.  I state the general colors while I'm doing big form modeling, again I'm not worried about adding the details just how the light and colors wrap around the form.  Once the big form modeling is complete I start with the smaller forms and state the darker to middle values first.  The colors I used were cad. yellow light, raw umber, ivory black, and cad.red light.

Then I state the lighter values with the smaller forms by using cad.yellow light, naples yellow and titanium white.  Once the first chestnut crab apple is complete I start on the second one and repeat the same process as I did with the first.  The colors I use are cad.red light, ivory black, raw umber and cad.yellow light.

Once the big form modeling is complete I start with the smaller forms.

Again repeating the process with the third crab apple after the second one is complete, I'm also using the same colors.

Once the third crab apple is complete I state the stems all at the same time.  When doing this I can see the painting come together and also how much more character it gives the crab apples.  I'm really glad I went back and worked on big and smaller form modeling.  Sometimes I forget how important it is, it's always good to just slow down and evaluate what's working for you'r painting and what isn't.  I find more success in trying to achieve what I want to paint when following this process.  I hope you enjoyed this painting, thanks for stopping and viewing. 

"Chestnut Crab Apples"

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"Chestnut Crab Apples"

8 x 10 in

Oil on Canvas Panel

Crab apples are neat looking to me they seem to be a mini version of an apple.  Their textures are not shiny and smooth as a regular apple, but do have to overall shape to them.  What also attracted me to paint these guys where their stems, I found for the majority of them to have so much character.  They have a gestural feel to them which to I really enjoy painting, although the stem is not the majority part of this painting it does have a secondary role to it.  Textures to me are important in a painting they definitely make the object you'r painting come to life.  To understand how to paint texture is extremely important in order to advance as a painter.
I also wanted to mention that a good friend of mine told me about her having issues leaving comments on my blog.  She gave me instructions on how to fix it which I did and it should be working now with no problems.  I apologize for the inconvenience and thank you for continuing to visit my blog! 

I started with the drawing stage which unfortunately I forgot to take a picture of, but I used a bit of raw umber on the brush and no mediums.  After the drawing is complete I stated the background and the general colors of the crab apples.  The colors I used for the background were cobalt blue, naples yellow and titanium white.  For the crab apples I used naples yellow, and cad.red light.  Then I start on the first crab apple by concentrating on turning the form or big form modeling, not worrying about details just how the light wraps around the form.  The colors I used in this stage were raw umber, cad.yellow light and cad.red light.

Then I went back into the darker values and stated their specific forms, in order for that to work the big form has to be correct.  I did the same with the lighter values, stating their specific forms to work with the surrounding values.  When done without the first crab apple I repeated the same process with the second one.  I also stated the cast shadows which are important since the darkest values affect the overall tone of the crab apple.

Then I stated the lighter values with their specific forms and took the second crab apple to a finish.  As you can see with previous pictures I've begun to state the stems, just giving a hint of where they'll be placed.  After the second crab apple is complete I start on the third one and repeat the process.  I also use the same colors as I did with the first crab apple.

Once the third crab apple is complete I state the overall color of the wooden base and after I start on the darker values with their specific forms.  The colors I used in this stage were raw umber, ivory black, and cad. orange.  

Then I stated the lighter values with their specific forms by using titanium white, cobalt blue, naples yellow and burnt sienna.  In order for the lighter values to have worked with the overall tone in the wooden base the big form modeling had to be correct.  In order for the details or small form modeling to work the big form modeling has to be correct.  Essentially your big form modeling is setting the stage for the finer details, its imperative to get this stage right for the small form modeling to work.  When painting intricate details such as these crab apples it can be challenging to get the big and small form modeling right, it may take a while which is just fine as long as you understand the process and know that it works.  I hope you learned and enjoyed this one, thanks for stopping by.