"Star Fruits"

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"Star Fruits"

8 x 10 in

Oil on Canvas Panel

Something about the last post must of had an effect on our weather, the temperatures started getting warmer and I am loving every bit of it. Spring is definitely right around the corner, now to just melt all the snow thats accumulated. I wanted to continue the alla prima serious with another painting of star fruits. Their color and texture really attract me. It has a nice variation of smooth and rough texture, not to the touch but more visually. I forgot how much I really enjoy painting alls prima's, I find it to be the same experience as drawing in my sketchbook. It's a way I can just set up a small little still life and just practice away. 

Thank you again everyone for stopping by and viewing my painting. Hope spring is around the corner for you as well.

"Contact"

"Contact"

8 x 10 

Oil on Canvas

I hope everyone is keeping warm in this brutal winter polar vortex. This winter has tested our patience and hopefully will let up soon. I wanted to do an alla prima painting of these star fruits to remind me summer is around the corner. It was fun painting alla prima again, to try to finish the painting in one sitting was challenging after not doing for a while.  Can't wait to produce more of these alls prima's to get back on the band wagon.

Thank you for stopping and viewing my painting. Stay warm!

"Mixed Tomatoes II"

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"Mixed Tomatoes II"

8 x 10 in 

Oil on Canvas Panel

I wanted to continue the play on colors with these delicious tomatoes, I especially wanted to have an array of colors with an interesting composition.  The textures in their skin is extremely subtle along with their color shifts.  I felt for the most part I was painting mini balloons, never painted balloons before and now have an idea on how to do so.  With this painting I wanted to revisit big form modeling and implore that idea further.  I've stressed in previous posts about the importance of big form modeling and with this posting I'll do the same.  Playing with so many elements at once is challenging but delightful after seeing its completion from start to finish.

I started with the usual dry brush approach using no mediums and a bit of raw umber on the brush.  Once the drawing is complete I state the general colors of the tomatoes all at once, I do this to get unity out of the group of, this also lets me create a base to move my paint around and have that unity from beginning to end.  In this stage I am not concerned with big form modeling or details just the general flat color of the area.  The colors I use for this section are cad.red, cad.orange, cad.yellow medium hue.

After the general stage is complete I then start on big form modeling, this stage I start adding different colors that help turn the form with its light.  Still not worried about "details" or small form modeling just on how the form is turning away and into the light.  It's important to state that this stage is crucial in order to have a successful completion to your later stages.  I also stated the background in this stage to tackle the edges further.  Big form modeling is essentially laying down all the ground work for you, the smaller forms later or the "details" will lay in perfectly if the big form is done right.  With big form modeling I don't lay in the highest highlight or darkest value just a middle of the two to get the form turning.  Then on the next frame you can see that I laid in the smaller forms with the darker values and lighter values.  I like to break them up into two sections starting with darker then lighter values.  These sections work just right with the big form modeling, of course there is some areas that need fine tuning in order for the smaller form model to work right, but for the most part big form modeling lay's out the blueprint for each section you'r painting.

Once the tomatoes are complete I then start on the wooden base by approaching it the same way as I did with the wooden base.  First laying in the general colors and then doing the big form modeling or a fall light across the board.  Again not worried about the grainy textures in the wood just on the general light moving across the form.  This stage I am not applying the lightest or darkest values, I get close but stop since I add those details with the finishing touches.  Then on the next frame I state the smaller forms by first applying the darker values with their specific forms.  For this stage I used primarily burnt umber, raw umber titanium white, naples yellow and cerulean blue.

Once the darker forms are complete I state the lighter forms and take the wooden board to a finish.  I can see after adding the overall value of the base that the tomatoes started to look lighter in the darker areas, which is normal if you add a darker element next to it.  I went back into the tomatoes and darkened certain sections in order for them to work with the whole painting.  I hope you enjoyed this one and really had an understanding of my concept when I paint.  I appreciate you guys stopping by and viewing, till next time au revoir! 

"Lemon Plums"

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"Lemon Plums"

6 x 6 in

Oil on Canvas Panel

These lemon plums caught my eye in the grocery store I could not get my eyes off of them.  They are unique looking to say the least and you know automatically I have to paint it.  I really like their colors and how orange their tips are.  Along with the colors I enjoy their textures, they are subtle but painting the smooth to rougher texture in one plane was a nice challenge.

I wanted to remind everyone that I am doing a painting demo this Thursday at Dick Blick in Edina, Minnesota from 10:45 to 2:00pm.  I hope to see you guys there! 

I started with the usual dry brush approach for the drawing stage.  Once the drawing is complete I stated the big form modeling with a very thin mixture on the brush, its a dry brush approach as well.  

I then just concentrate on the darker values with their specific forms.  Once thats completed I move onto the lighter forms and continue the same process.

I repeat the same process on the second lemon plum till its completed.    

Once the plums are complete I state the wooden base by applying a thin coat for the base.  Going back to the plums you can see that I start really thin with my mixture, this allows me to control my values from the brush touching the canvas.  Think of it as rendering with a pencil, once you put the pencil to the paper to get the subtle rendering you need to have a soft touch, same idea.  When I need the colors or values to be stronger and more opaque I'll go thicker with the paints, but I do so in a slow manner making sure the transitions are working within each other.  

Then I paint in the darker values with their specific forms and do the same with the lighter values.  

Once the wooden base is complete I start on the background, in this stage I make sure to take my time in polishing all the edges.  Thanks for stopping and viewing, hope you enjoyed!

"Green Heirloom"

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"Green Heirloom"

8 x 10 in 

Oil on Canvas Panel

I always enjoy painting heirloom tomatoes for many reasons other than eating them afterwards.  The binding that happens from each layer is fascinating to me, there's also a subtlety of colors that you can see coming from the inside.  Painting subtle color variations from one layer to the next is challenging especially when painting heirloom tomatoes.  I also enjoyed painting this tomato because of the weather we had today, its been snowing all day with an occasional sunshine here and there.  I always jump on the opportunity to paint with natural light when given the chance and today was one of those days.  Observing this heirloom tomato and its subtle colors was easier to do with soft lighting, and as mentioned before eating them afterwards is a bigger reward for painting them all day.  

"Grapes & Wine Glass"

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"Grapes & Wine Glass"

7 x 5 in 

Oil on Canvas Panel

Thanksgiving was so well needed the amount of food I ate was just ridiculous but I look forward to it.  Relaxing and being with family is always a nice thing to do, I wasn't able to work on any paintings but did have the chance to finish up some drawings.  I was itching to get back to painting after lounging around and not really doing anything, its nice to relax but to much of it can throw me out of sync. 

 I truly do love painting grapes from their texture to the colors that are deep within their skin, I can't find a bad thing about them.  What I also like about them is that their stem always has a gestural feel to it, its in charge of holding together all these little guys and maintaining a balance with their weight.  As mentioned before their texture is really beautiful to paint, their skin is able to absorb light and retain it with a glowing effect.  Light skims across their form and ever so lightly wraps around it, it's really neat to see the difference between each of them.  I wanted to continue the play with composition that I've been doing lately and introduce a wine glass to the picture, I felt it was fitting to incorporate it with the grapes and also have an opportunity to paint a shiny surface.  As beautiful as they were to paint they were even more delicious to eat afterwards, nothing beats painting one of these and eating them as a reward for being done.

I have exciting news I've been recently picked up by Art Resource Gallery in Edina, Minnesota.  I started showing their last weekend, I'll only be showing larger still life paintings and ball point pen drawings.  If anybody is in the neighborhood you should stop by and check out the artwork.  I also have two new classes at Bloomington Art Center that are being offered for the winter session.  If anyone is interested you can sign up by clicking here for the figure drawing class and here for the oil painting class.   

I started with the usual dry brush approach using no mediums and a bit of raw umber on the brush.  Once the drawing was complete I filled the background in with titanium white, ultramarine blue and cad.red light.  After the background was complete I stated the grapes and their big form modeling, I'm not really concerned with the details at this point just on how the light falls on the form and how dark the darks need to be.  The colors I used for this stage were naphthol red, cad.red light, cad.yellow light, cad. orange and ultramarine blue.   

Once the big form modeling was stated I then start to concentrate on the small form modeling stage, I break this stage down to two sections first stating the darker values with their specific forms.  Once that's complete I start on the second section which is stating the lighter values with their specific forms and highlights.  The reason I like to break this stage down to two sections and start with the darker values first, it lets me see how dark I need to really go and sets up the lighter values for the finish.  It keeps the process controlled it's really easy to just work all around and not really get to a finish, doing it in this manner really allows me to get a quicker finish in a methodical way.

Once the grapes and stem are taken to a close finish I then start on the wine glass by stating the middle to darker values first.  Once thats complete I then state the lighter values and their highlights.  Once I'm finished with the wine glass I can then go back to the grapes and add any finishing touches.  That's the reason I stated that I take the grapes and stem to a close finish because once all the elements are painted you get a better picture on how everything works together, you'r bound to change or add something towards the end.  

Thanks for stopping by and viewing everyone, hope you enjoyed this one!

"Raspberries Aligned"

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"Raspberries Aligned"

5 x 7 in 

Oil on Canvas Panel

I always have so much fun painting raspberries, their texture and intense colors make it a delight to paint.  I wanted to play more with the composition between the red and black raspberries.  When painting the red raspberries I noticed how intense the reds got, its pretty subtle on how strong those reds can be without going overboard.  The black raspberries absorbed it's surrounding colors, at times it did show some reflected lights, I believe these two compliment each other well.  One of the other reasons I like painting these guys is because I get to eat them right after I'm done, but let me tell you it's hard to fight the urge to do so while painting them.  Thanks for stopping by and viewing I hope you enjoyed this one!

"Quince Pineapples"

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"Quince Pineapples"

8 x 10 in 

Oil on Canvas Panel

These pear of unique pineapples I saw at the grocery store is something i've never seen before, I knew right away I had to paint them since their not the usual pineapples I'm used to.  I've been wanting to paint this red cloth for a while and thought pairing it up with these pineapples would be perfect.  Having to adjust to the daylight savings time has been a bit tricky to do, I have to start these paintings much earlier so I have sufficient natural light to paint with and to take pictures.  I haven't found anything that replaces using natural light it's the best source of light to use in order to have the purest colors.

I started with the usual dry brush approach using no mediums and a bit of raw umber on the brush.  Once the drawing is complete I stated the background and red cloth, with the red cloth I state the fall of light or how the light falls across the form.  The colors I used were ultramarine blue, naples yellow and titanium white.  The colors I used for the cloth were cad.red light, and ivory black.

Then I start to work on small form modeling by first stating the darker values with their specific forms. After the darker values are done I proceed to the lighter values and their highlights, for the lighter red areas I used a bit of cad.orange mixed with cad.red light.  After the cloth is complete I can then move onto the pineapples by concentrating on big form modeling, at this stage I'm just worried about stating the general colors and how light wraps around the form.

Once the form is turning and appears dimensional I can then start on small form modeling, at this stage I like to break it into two parts.  The first part starting with darker values and their specific forms and when thats complete I finish it off with the lighter values and their highlights with their specific forms.  The colors I used for the pineapples were viridian, cad.yellow light, titanium white, cad.red light, ivory black and ultramarine blue.  Painting cloth in a still life is something I've always enjoyed, one can learn so much by its folds and how color and light falls on each plane.  It compliments well whatever its paired with and I get a lot from the experience painting it.  I hope you enjoyed this one thanks for stopping by and viewing! 

"Black Grapes"

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"Black Grapes"

10 x 8 in 

Oil on Canvas Panel

I wanted to try a different composition with these beautiful grapes, I pictured this setup in my mind when I was in the kitchen and when I put the two objects together I knew it was right.  There's something about the rustic old vase combined with the grapes that compliment each other really well.  I also like the subtle cool colors these two create, when working on the vase it was a challenge trying to recreate its textures.  Painting the grapes was so much fun from the darkest values to the lightest texture applied.  Grapes have so much beautiful little textures within them if captured correctly it'll push the painting to that next level.  Since the painting is done I can truly enjoy eating these delicious grapes! 

I wasn't going to do process photos with this one but then decided last second to do so, I've been so busy that I don't have time to do these process photos glad I did though it's been to long.  I also wanted to do them to celebrate the weekend being here, these last couple weeks have been really hectic with teaching and getting bigger paintings complete that doing these alla prima's have been tight on time to do.  I really do enjoy sharing my process and miss doing that although I did get used to just going from one stage to the other without stopping and taking photos, I caught myself doing that a couple times I had to slow down for the majority of this painting.  As stated before glad to have done the process photos, I hope in the future I'm able to do them on a consistent basis.

I started with a bit of raw umber on the brush for the drawing stage.  As you can see with the picture I erased a bit to change the proportion of the overall painting, I felt it would of sat better compositionally not being so large on the canvas.  Incase your wondering I erase with my fingers not with any solvents.

Once the drawing is complete I stated the background with ultramarine blue, naples yellow, and titanium white.  Once the background is stated I then start to fill in the rustic vase by laying in big form modeling with its general colors, I'm not worried about details at this point just how the light wraps around the form and it's general colors.  

Once big form modeling is complete I then move onto small form modeling, I first concentrate on the darks and state their specific forms also adding reflected lights to turn more of the form.  Then I start on the lighter values by adding their specific forms and finish it off by stating their highlights.  The colors I used for the vase were ivory black, titanium white, yellow ochre, ultramarine blue, cad.orange, and cad.red light. 

Once the vase is complete I move onto the black grapes and add its general color which is ivory black.  Since there are so many grapes and you can't just do big form modeling with all of them at once I just add black right away for a base, then I model each grape with its general light and color.  I also worked on the stem at the same time as I did the grapes.  The colors I used for the grapes were ivory black, ultramarine blue, cad.red light, and titanium white.  For the stem I used ultramarine blue, cad.yellow light, yellow ochre, ivory black and titanium white.

I leave the highlights towards the end to pop the painting and bring it to a finish.  I hope you guys have  a good weekend, thanks for stopping by and viewing.

"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.

"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.