Leaning Gourd

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"Leaning Gourd"

8 x 10 in

Oil on Canvas Panel

Since the holidays is around the corner I wanted to paint a festive theme. Some people might argue pumpkin is not very festive for this time of year, which is a valid point but I think the colors are fitting.  I want to thank everyone who stops by my blog and takes the time to look at my work. Thank you for doing so. I enjoy sharing my process and thoughts on painting. I know the journey of learning this difficult medium can be long and stressful, if I can share my knowledge to help some people with their journey then I feel I have accomplished something. I am so grateful for the artist I reached out to when I started out on my journey for helping me. I wanted to create a blog where I can do the same and share my knowledge as best as I can. We are all on the same boat trying to decipher this complex language of painting.  Thank you everyone and Happy Holidays!

I started with a thin application of raw umber for the drawing stage. Once the drawing is complete I paint the background and wooden board. I keep colors general in this stage and really thin. 

I start painting in darker value forms to the wooden board. Once that is complete I paint in lighter value forms.

Once the wooden board is complete I start painting in the pumpkin. I first lay in a thin application of the general values, somewhat a big form modeling stage. I go back and forth with the brush without lifting it, I keep the pressure pretty light to control the values. Once that stage is working well I move onto the smaller middle to darker value forms. I apply the paints a little thicker to cover the thinner application but being careful of not getting to thick. I am also conscious on the pressure I am applying to the brush. At this stage I start dabbing the brush for the areas that need finer rendering and when the edges need to get softer I go back and forth with the brush with a very light touch. I like to go back and forth with dabbing and keeping the brush on the canvas. Usually in the later stages I tend to lightly render the areas by dabbing on the brush and then going back and forth with out lifting the brush. This approach allows me to control the values and the level of rendering, it also gives me options with the type of textures I am trying to get. 

I then paint in the middle to lighter forms in the pumpkin. I apply the same rendering approach as mentioned above. Once the pumpkin is complete I start painting the gourd. I first paint the big form modeling by painting in the general values wrapping around the form. At this stage I am not worried about the smaller forms or "details". I am just worried how the value and chroma wraps around the form. 

Once the big form modeling is working well I then paint the smaller middle to darker values forms. I then do the same with the smaller middle to lighter value forms. 

I hope everyone has a wonderful holiday! Cheers!

"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! 

"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.

"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"

Click here to purchase this painting at my Etsy shop

"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.

"Nectarines"

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"Nectarines"

5 x 7 in

Oil on Canvas Panel

I wanted to continue the paring of fruits since the previous pair resembled nectarines so much.  The whole time I was painting I thought wow these really do look like nectarines.  That's the reason I wanted to paint actual nectarines for todays alla prima session.  Today was a bit challenging to paint these in natural light, the weather was cloudy for most of the day and pretty gloomy at times.  I wanted to stay true to painting in this manner even though it got pretty dim the colors were still pretty true to the original.

I wanted to let you guys know I'll be doing a demo on Thursday September 22 at Dick Blick in Edina from 1-4 p.m.  I think I might do a rose or fruit painting still undecided on what to paint, any suggestions?   Hope to see you guys there! 

I started with the usual dry brush approach using a bit of raw umber on the brush.  Once the drawing is complete I stated the background and nectarines with its general colors.  The colors I used were ultramarine blue, naples yellow, titanium white, burnt sienna, cad.red light, and cad.yellow light.

Then I stated the darker values with their specific forms, the colors I used for this section were burnt sienna, cad.red light, raw umber and ultramarine blue.  Then I added the lighter values with their specific forms, the colors I used were titanium white and cad.yellow light.

I repeated the process with the second nectarine after the first one is completed.

After the nectarines are completed I stated the wooden board with its general colors, the colors I used were raw umber and burnt sienna.  Then I stated the darker values with their specific values, the colors I used were ultramarine blue and burnt sienna.

Then I stated the lighter values with their specific values, the colors I used were titanium white, naples yellow, burnt sienna and cobalt blue.  This is the finished painting and really happy with the result.  The lighting was an issue in the beginning but it was just something to figure out and able to work through.  As stated in previous posts painting in this manner is addicting, I love the colors one is able to see with natural light and how subtle value shifts are presented.  Thanks for stopping by and viewing, hope you enjoyed this one. 

Picture of the setup.

"Summer Punch Pluots"

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"Summer Punch Pluots"

5 x 7 in

Oil on Canvas Panel

It's already cooling off here in Minneapolis, we had a freeze warning last night which I was not to excited about.  I'm really going to miss summer and the beautiful days it brought, although fall in Minnesota is beautiful.  I just do not want it to go to freezing temperatures already, I want a gradual build up for winter.  These summer punch pluots are a homage to the season thats ending.  I wanted to continue the process of painting in natural light and from life.  I'm enjoying more painting in this manner, i'm starting to see more colors and textures that would be missed if I was copying from a picture.  I also find you can connect with the subject you'r painting when painting from life.  I really love painting this way I get so much more out of it, still trying to adjust sitting down all day rather than standing up.

Picture of my setup.

I started with the usual dry brush approach for the drawing stage.  Once the drawing is complete I start on the background first with cobalt blue, naples yellow, yellow ochre, and titanium white.

Then I state the pluots and wooden base with their general colors, not worried about the lightest and darkest values just a general statement.  Then I stated the darker values with their specific forms on the wooden base.  The colors I used for the base were raw umber, burnt sienna, and cobalt blue.

Then I added the lighter values with their specific values and took the base to a finish.  I then start to state the middle to darker values on the first pluot.  The colors I used for them were cad.orange, cad.yellow light, burnt sienna, cad.red light and raw umber.

Then I add the lighter values with their specific forms, the colors I used for this area were titanium white, quinacridone magenta and cobalt blue.  Once the first pluot is complete I repeated the same process with the second one.

This is the finished painting.  As stated before painting from life and having the subject right in front of you is priceless.  The amount of information you get with colors and temperature is really valuable.  I recommend if you'r able to paint in this way do it, you learn a lot more than copying from a picture.  Thanks for stopping by and viewing, hope you enjoyed this one.

The set up and the finished painting.

"Orange with Blue"

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"Orange with Blue"

11 x 14 in

Oil on Masonite

This is not an alla prima painting, this is a painting I did some time ago and just pulled out of the closet.  I really do love the color balance the orange and blue create with the dark background, gives a great composition to the painting.  This painting does come framed as well.  I really like finding these paintings after painting so many of the alla prima's.  This painting was a bit of a challenge due to the surface, masonite can be very slippery to paint on.  Usually I like to create a couple of layers of paint to get the look I'm wanting for the final painting, of course when I mean a couple layers its between drying times.  I do prefer painting on more of a textured base so the brush and paints have grip to them, but painting on masonite definitely humbles you as a painter and makes you see your weaknesses right away.  Thanks for stopping by and viewing hope you liked this one!