Fuyu Persimmons

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"Fuyu Persimmons"

2016

Oil on Canvas Panel

8 x 10 inches

It was neat being back at the grocery store and searching what to paint rather than what to eat, I can't remember the last time I did that. I noticed the practice of putting together the whole picture from beginning to end was something I really missed. Finding the subject, then composing it (which can take a while), then either painting from life or taking a picture, document the process while painting it, and last but not least finish the painting in one session. Daily or Alla Prima painting is great practice no matter what style your painting in. I have and will always recommend everyone to at least try it, its the best way to practice and hone your skills as a painter.

Here is a step by step process:

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Fuchsia Peonies

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"Fuchsia Peonies"

8 x 10 in

Oil on Canvas Panel

I am well aware Peonies are out of season, These peonies I bought for my wife a while ago and loved how they looked. I took a picture and always said "I will paint that one day" well that day finally came.  The texture and movement within these flowers are spectacular, I tried so hard to portray that in my painting. Fuchsia Peonies are always fun to paint due to the purples, blues and reds that are hidden within each pedal. The movement from one petal to the other has a beautiful gestural quality to it. It is a challenging flower to paint but always rewarding in the end.

Thanks for stopping by, cheers!

Forelle Pear

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"Forelle Pear"

5 x 7 in

Oil on Canvas Panel

I haven't painted pears in a while and thought it was time to re visit these beauties. I also wanted to go back on how I painted pears when I first started to do alla prima paintings a couple years ago. It's minimal amount of paint on the brush kind of like drawing with a pencil, you do not want to put a dark hard line with the initial mark. This painting is an exploration of my technique old and new.

I started with a thin application of raw umber for the drawing stage.  I am not worried about details just the placement of major shapes and the lineation of shadow shapes. Then I painted the background in. I usually like to paint this area first, this allows me to now worry about it when I am painting the main object in the painting.

Once the background was filled in I then painted in the wood, I applied a thin amount of paint to cover the base. I think of it as how one would when drawing with a pencil. I do not paint in the darkest darks or lights lights, just an in between value to give form to the object. Then I paint in the darkest values. I still have not applied any lighter values just concentrating on the middle to darker values.

Once the darks are painted I then start to paint in the middle to lighter values. Once the base is at a level I am satisfied with I move onto the pear. The initial stage of painting the pear I apply a thin layer of paint in the shadows, I do the same with the lights. In this stage I am only concentrating on big form modeling, how light wraps around the form. I mesh the lights into the darks to make the form turn, softening edges to show more of the turn. I am not worried about details at this stage just worried on applying a thin layer of paint and making the form turn with generalized colors.

Once big form modeling is working I then start to work on middle to darker values. As I mentioned before I am applying the paints very thin, this allows me to control values the same way one would control a mark with a pencil. I like to build into my darks as well into the lights.  This approach is time consuming but gives you control on how much subtle values shifts you're needing.

Hope you enjoyed this painting, thank you for stopping by! Cheers!

"Peonies"

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"Peonies"

8 x 10 in

Oil on Canvas Panel.

I've been away from painting these small gems for a while now as you may have noticed.  I have been swamped with work that needed all of my attention, I finally was able to finish half of the commissions I needed to.  I miss doing these daily's for many reasons but I know I have to get more of my personal work going rather than concentrating all of my efforts in these studies.  It is passed the season of peonies but I was able to get some off the farmers market, they were not as fresh and lively looking as I wanted them to be but they still possessed beauty.  The process of creating this painting is similar to the other alla prima's.  Each peony I handled as a sphere only concentrating how the light wraps around the form, not worrying about details yet just how light skims across the form.  At the beginning stage when modeling the lights I do not put in the highest keys in values and the darkest values.  Once this stage is complete i'm able to complete the painting by just adding the smaller forms or details to each "sphere". 

I also wanted to give you guys some news in my personal life, I just got engaged about a month ago and have been on cloud nine since.  I met my beautiful fiancee in Florence, Italy when I was studying at the Angel Academy of Art.  She was studying for a semester through the University of Minnesota.  By chance we met and I fell in love at first sight.  I moved to Minneapolis to be with her and haven't looked back since.  You can read a snippet about it on her blog.  To say I am the luckiest guy in this world is a major understatement, I am beyond blessed to have found my beautiful fiancee.

Thanks for stopping by I hope you enjoyed this one!  

"Blood Oranges II"

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"Blood Oranges II"

6 x 8 in 

Oil on Canvas Panel

Today I wanted to paint these beautiful blood oranges again but this time with a red cloth.  As I've mentioned in previous posts I really enjoy trying to capture the texture of things, today was definitely one of those days were it tested my abilities to do so.  From the wrinkles of the cloth to the soft subtle tones in the oranges and to the grainy wooden board.  All of them unique in their own way but meshing well together.  I was also able to mix my older approach to my new one of course shifting things here and there, for the most part I was pleased the way they worked together.    

I started with the usual dry brush approach just using a bit of raw umber on the brush and no mediums.  Once the drawing was established I painted the background and the back section of the red cloth.  The colors I used for the background were ultramarine blue, titanium white and naples yellow.  For the red cloth I used naphthol red, cad. red, raw umber and ivory black.  When working in the cloth section I start by just laying in the values with their appropriate colors to match the hue.  I keep the transitions soft and make sure to not have any hard edges, this is my beginning layer and want to keep it as thin as possible.  

Then I start by adding the darker values and their specific forms, by doing this I start sculpting into the initial layer.  Once the darker forms are about complete I then paint in the lighter values with their specific forms.  By now I start to see the section coming to a completion, I start going back and forth from the darker values and pushing it to compliment the lighter values.  

Then I repeat the same process with the red cloth in the middle ground.

Once that section is complete I then move onto the first blood orange.  I start by painting the big form modeling in which the light is wrapping around the form.  Laying in a close approximation were each value scale should go with the right chroma to compliment it.  I also make sure to keep this stage of the painting thin, making sure the form is turning and it looks dimensional.  The colors I used for this section were cad.orange, cad.yellow pale hue, naphthol red, raw umber and ivory black. 

Once the big form modeling is complete I start to state middle to darker values with their specific forms.  When adding the smaller forms in this section I am able to use the initial layer that I stated in the big form modeling stage, this helps my blends go smoother and quicker it keeps a unified look.  It also allows me to go thicker and textured if desired to do so, it gives me the control i'm looking for within each section.  Once that section is about complete I start on the lighter values and highlights.  By the time I get to the end of this stage I am able to go back to the previous section,  I alter some values and chroma's that I didn't notice when the lighter values were not painted.

I repeat the same process with the second blood orange.

Once the blood oranges are complete I then start on the on the wooden board.  First painting the fall of light by keeping the values and colors generalized.  At this stage i'm not looking for details just a generalized information of the light and color.  I also make sure to keep this stage as thin as I can, doing so makes it easier to build layers and keep control.  The colors I used for this stage were raw umber, titanium white, ultramarine blue, cad.orange, and ivory black.

Then I paint in the middle to darker values with their specific forms, I start narrowing in the smaller forms by adding its specific characteristic.  I do the same when adding the lighter values and highlights.  After this stage is complete I go back around and see if I need to push anything or if I've missed a certain part.  I go back into the background and grey it down a bit, I thought it was competing with the foreground for the most part.  Well this painting definitely was a longer one to explain with each of its intricate sections.  It was so much fun painting them and also being able to explain each section, thank you for stopping by and viewing.

"Red Apple"

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"Red Apple"

6 x 6 in

Oil on Canvas Panel

This painting came up unexpected for me today, I was busy all day with meetings and running errands.  It was a pleasant surprise to get home and see if I can produce one very quickly.  I wanted to see if I can push my self to get details or smaller forms down in the painting with more clarity, I feel lately some of my paintings have gotten a bit blurry in that area.  In a sense its more of a therapeutic thing for me to do in order to feel right about the direction I'm going for.  After painting it I had the pleasure of eating this delicious apple, it's been a while since I've had apples almost forgot how good they are.  

"Assorted Apples"

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"Assorted Apples"

8 x 10 in 

Oil on Canvas Panel

These apples I've been wanting to paint for a while in this arrangement, I've always been intrigued with the texture and subtle colors apples have.  Each of the apples have a subtle variation to its texture complimenting the rougher texture the wooden base has.  It's interesting applying the technique I did with the roses and rockwell study to this painting, of course it was't working right of the back but after a while it started coming together.  That's another thing I wanted to discuss on here about sticking it out till the end with you'r painting, no matter if its an alla prima or a longer still life painting.  In every painting that I do I always run into rough patches and think its not going to come out, but I keep going working hard until it finally does work.  Easier said than done but trust me if you push your self and not settle it will push you and your painting into that next level.  Thanks for stopping by hope you enjoyed!