"Cut Pepper"

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"Cut Pepper"

6 x 6 in

Oil on Canvas Panel

Hi everyone I have been extremely busy and finally back to painting, this quick little painting I thoroughly enjoyed.  Its always a little hesitating getting back to painting these guys so quickly, I feel once you paint these guys so much you start to get into a groove.  But once you stop for a little bit then its hard to get that groove back.  Awww the joys of painting!  

With this painting I wanted to do something different in the nature of this beautiful pepper.  The colors between the wooden board and vibrant pepper made for a good combination of a painting.   

I started with the same approach as I usually do, a bit of raw umber on the brush and no mediums for the drawing stage.  When the drawing is complete I start on the pepper, with this painting I am still concentrating on big form modeling but I want to emphasize on just laying all the major colors first.  Once I've laid all the main colors I start to turn the form and see how the light wraps around the form.  

Then I add details and take the pepper to a finish.  Once the pepper is complete I move onto the wooden base and do the same.  I start first this time with just adding the overall colors and fall of light.

Once the fall of light is working I then add details to the wooden base and take it to a finish.  Then I add the background and take the whole painting to a finish.  This painting was fun and a quick one in comparison to my other compositional paintings, but still a fun one to paint.  Thanks for stopping by and viewing, hope you enjoyed!

"Mini Fruit Tart"

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"Mini Fruit Tart"

6 x 6 in 

Oil on Canvas Panel

I wanted to paint these guys in an overhead view, I was going to paint it in the usual front angle composition but I wanted something different with this one.  It's always fun to experiment with different angles to see what works best for you'r painting.  The textures are another reason why I painted it at this angle, the wet and smooth feel of the blueberries and strawberries are just delicious to paint.  Needless to say I couldn't wait to be done so I can indulge in this delicious treat.

I started with the usual dry brush approach using no mediums just a bit of raw umber on the brush for the drawing stage.  When the drawing stage is complete I started on the black raspberries, first getting the overall values stated.  This is also called big form modeling seeing how light wraps around the form.

Then I add the lighter values to bring the raspberries to a finish and tie it in with the darker to middle values.

Once the black raspberries are done I start on the blueberries and do the same as I did with the black raspberries.  I start on the fall of light and get the general statement of values.  Then I add lighter values and tie them in with the middle to darker values.

Once the blueberries are complete I started on the strawberry.  I paint the main color notes and get the main value shift of that section.  I keep the paints thin in this section and keep the edges soft, I've also started to add some of the reflected lights on the strawberry.

Then I add details to the strawberry and take it to a finish, the details work within the larger values and chroma's that where stated in the bigger form modeling stage.  Once the strawberry is complete I start on tart itself.

To take the painting to a finish I painted the background and cast shadow, I used titanium white, cerulean blue, naples yellow, and raw umber.  This painting was a lot of fun to paint and even more enjoyable to eat afterwards.  Thanks for stopping by and viewing!

"Balancing Act"

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"Balancing Act"

6 x 6 in

Oil on Canvas Panel

This is the third installment of the baby eggplants and I wanted to get really creative with the pose, this balancing act kind of reminds me of a cirque du soleil pose.  I love going to go see their shows the way they incorporate color, music, and amazing performances by their performers is just out of this world.  Truthfully I wasn't thinking of them when creating this composition, I just wanted to have a creative painting and a unique balancing act.  I don't think I can ever get tired painting these guys, but I do think three is the magic number and it's a good time to paint something else after this one. 

I started with the usual dry brush approach with a bit of raw umber on the brush, I use no mediums throughout the whole painting even from the beginning.  After the drawing is complete I start on the first eggplant just stating the main colors first and how light wraps around the form, which is also known as big form modeling.

After the main information is stated and the form is turning I state the smaller forms, I'm still conscious of the big form modeling and want my smaller forms to work well within the form and its values.  Then I move onto the stem and do the same procedure.

When I get to the second eggplant I repeat the same process as I did with the first one.  An important thing to also remember when painting big form modeling always keep your edges soft and also keep the paints thin.  Having the paints thin from the beginning gives you more freedom to build your layers without getting your colors muddy.  It also gives more control in manipulating the look you'r going for.  I always keep all the edges soft in the big form modeling stage, when I get to the smaller forms and details I start to sharpen certain edges and also get a bit thicker with the paints.

After the big form modeling is complete I then move onto the stem and do the same big form modeling.  When I start on smaller form modeling I take the eggplant and stem to a finish together.  

Then I add the background and base general information after the eggplant is taken to a finish.  Then I go and add the details to the wood and also take it to a finish.  As stated before I really do love painting these guys and can just paint them for a whole year, you learn so much about control of your craft when rendering these guys.  It can be a bit intimidating due to their smooth skin texture but don't let that fool you, they have some rough areas as well.  It's a unique object to paint and I thoroughly enjoy it, I hope you enjoyed this one and thanks for stopping by!  

"Painting for Japan"

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"A Place Called Home"

10 x 8 in

Oil on Canvas Panel

Hi everyone, I've recently placed this painting on an auction which 100% of the proceeds are going straight to the relief efforts in Japan.  I felt helpless like a lot of us did when this tragedy occurred, I feel with this painting I'll be able to help out and give a little of what I can to the relief effort.  If you want to bid on the paining you can go to this site and bid on it, there are more artist on the site which are auctioning they're painting for Japan.  Thank you. 

"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.