Study of Pink Tulips, 8x8 Oil on Canvas, Click to Bid
My study of tulips is rapidly coming to a close as tulips are being replaced by daffodils (most likely my next study). However, I've been able to gleen what I can from the last few experiences (and I will admit that you dont get to see them all - yikes!). Those experiences have helped me with a slightly larger piece which I will be unveiling soon.
And I HAVE learned something. I'm learning to paint a little more boldly and a little more confidently. I'm learning that it's okay to trash a canvas that doesnt work out like I'd hoped but I've also learned that you dont know if you dont try, right? Right?
I've also learned that red tulips last longer if I put them in the mini fridge overnight and pink tulips open up in a matter of minutes - so take a picture because they will also lean to the light before the project is finished. Heaven forbid I have to come back the next day to work on any of them because they are completely different flowers by then! :)
Tulips are pretty even if they are short lived as cut flowers. But as the first breath of spring, they are worth the effort in the studio.
Tablecloth Series Apples, 6x8, Oil on Canvas, Click to Bid
Again with the table cloth. It was about the vignette and pushing the
light and shadow as well as working with the small color changes as the
stripes move from shadow to light and back to shadow. There was a lot
of inventing with this painting. I had some fun here! :)
Study of Tulips and Grapes, 8x6, Oil on canvas, Click to Bid
Here I am again getting all loosey goosey with my strokes. But again, I have to admit, it doesnt come out of the box this way. I paint. I paint over, I paint again. You get the idea. But this is pretty much what I had in mind when I set out to paint this one so I'm grateful for that.
I feel like I'm making progress! :)
And here is what this painting might look like on display:
Study of Daisies, 6x6, Oil on canvas, Click to Bid
I have been working hard at my florals lately. My default is to get really tight because there are so many layers and so many colors and temperatures. I did a lot of scraping and wiping and starting over until I FINALLY started to see a looser, more impressionistic version of what was in front of me.
One might think that impressionism is easier than realism because of the loose and sparse brushwork but it requires heavy duty editing - that is knowing what to keep in and what to leave out.
Of course this matters in all paintings, realism, impressionism, abstract and the like, but it is the foundation of impressionism. Because, after all, I am just trying to give the impression of daisies, not a photo version of them!
Ironically, it takes me longer to get that fresh loose brush stroke than it does to render each petal individually. However, with more practice, I hope to be able to wrap my head around the complexity of these little buggers and master them!
Limes. Once again I am taking a lit up subject and attempting to create depth and atmosphere with a little drama.
It's a pretty quiet little painting if not for the subtle pop of the slices in the foreground. I kept the transparent oxide red pretty saturated to compliment the greens. It's just another way to go... :)
Tablecloth Series Yellow Roses, 6x8, Oil on Canvas, Click to Bid
I ventured out int o some unexplored territory here. I found some fabric that was unusual for me and a little whimsical.
Although it adds to a playful spirit, this painting is not about the polka dotted fabric so it was rather implied.
Cheery and Playful are the concepts here and in a little higher key than my usual. Mid key perhaps but still higher than low, correct? Still finding my way through Roses. Still re-inventing the wheel. But when I look at this painting I feel the light on the table top and I do feel cheery! :)
This painting was a little challenging because I peeled the lemon first and painted it on the stump. Then I wrapped it back up in the peel and painted it at the base of the stump. I used the re-wrapped lemon and the previous lemon painting as a guide but it was a little trickier that it should have been.
Lemon and Brushes Study, 6x6 Oil on Canvas, Click to Bid
I dont do a lot of deep perspective work. This piece made me really look at not only the perspective but atmosphere. I wondered what I was getting into but when it's all said and done, it's just shapes and colors. Paint what you see but consider the interpretation. :)
So I say, "I see brushes coming towards me"
But I interpret, "Yeah, but I want it to be a dark, hazy room with a strong spotlight."
It's way more fun when I dont lock myself into realism and just play and take chances. :)
Ahhhhh... Speed painting. I debated for some time about doing videos. I knew there would be a learning curve and most likely new equipment. So much involved. So much to learn. So much time in front of the computer.
Finally, this weekend I dove in. It turns out I HAVE the equipment. Or equipment that will work for now. And I HAVE the software already! 2 different versions of video editing software. So the only reason not to was the learning curve and all that time AWAY from the studio.
Some people may have waited until they produced a professional quality video but I say, "No time like the present!" I learned so much about making a video this weekend that I'm pretty happy with myself - and a little fried. It is what it is. Like my artwork, it will grow and morph as I grow and morph. :)
Making the video:
After I got the camera set up and I was ready to go I instantly froze with stage shock. I've painted in front of people before. It's not like I'm singing a solo at a concert or anything, right? RIGHT??? Then I told myself, "Hey. Nobody has to see this. If it's a wiper, then so be it. I start over." It took a little while for me to convince myself of that but once I got going I forgot about the camera. Then I took a little turn and found myself picking at the painting. Picking, re-doing, re-painting... Sheesh.
I finally stepped away from the piece for the last time and looked at the painting. Then I looked at the set up. Painting. Set up. Painting. Set up. I had moved my easel while I was adjusting the camera and so my angle to the set up had changed. Good grief. I was so excited to get started, the composition (THE COMPOSITION!) got lost in the process.
Okay, what's next? Editing.
It took me hours upon hours to learn the 2 different software programs I have. I googled. I went onto forums. I asked my FB friends. One program would do one thing I wanted but not the other and vice versa.
At the end of the day (literally), I discovered how to utilize much of Sony Vegas and was able to put together what you now have before you. Yep. Hours and Hours and hours... That's how I roll.
And so, you see, it cant be for nothing. I have to show it. I have quite a bit of time invested. Not to mention emotional investment. All the "AArrgg"s and "Are you kidding me??"s as well as the "Holy Smokes! It worked!" and "Yippee"s . I guess this dogs not to old to learn new tricks! :)
Aaaaannnd I took notes. Lots and lots of notes. :)
I'm hoping my next attempt will go much smoother. It was actually pretty fun - now that it's behind me.
And just for fun, I'm offering the painting for $1 to my newsletter subscribers. I plan to do more of these little videos with similar offers. If that sounds interesting to you, head over to my website and put your email in the newsletter sign up page
Stump Studies Red Peppers, 8x6, Oil on Canvas, Click to Bid
What is it about this stump? Every time I start to set up a still life with a man made piece, I take it down and go back to the stump. I've ventured outside to find other "organic" props but nothing makes the cut.
Certainly, the reason I gravitated towards the red peppers was the color. In fact, I was shopping for regular green jalapenos for a cabbage salad recipe and spotted these. Loved painting with red with the added advantage that they look/taste great in the salad too.
All in all, while the red is bold and saturated, it's still a quiet little painting.
I realize this is not an entirely new concept for a painting. Many artists have done the partially peeled fruit and successfully so, I might add. But it's new to me and I wondered if I could pull it off (peel it off? ).
I wanted to keep the props organic (a new trend for me) and for some reason I've bonded with this stump. It's been in my studio before. I'm familiar with it and I've used it as a prop in recent years so now it's relate-able, I guess.
Anyway, how to get the composition from the bottom of the canvas where the little orange segments are to the top where the rest of the orange is - was the goal. The trailing peel was a workable solution. And a really nice one if I may say so myself!
I'm really happy with the way it turned out and I am excited to do more of this partially peeled fruit thing.
Stump Series Fall Leaves, 8x6, Oil on Canvas, Sold
I've been saving these leaves on my window sill since fall. I knew the day would come when I would want to paint a fall leaf and they would all be gone if I didnt save a few.
Last week was turnip week. I'm working on that old worldly, atmospheric thing but trying to add a bit of color. Also, I wanted to try turnips in my salad.
I have no idea what the red things are. Some artificial Christmas decor I think. They're really little bead clusters but I just wanted some red to see how that would interact with the cool lavenders and purple.
There's a little competing going on between the purple top of the turnip and the red berries but if not for that it would just be a painting of a turnip - which would have been okay but now there's a little something else to look at too.
I was talking with an artist friend about staying motivated in the studio and the topic of weekly challenges came up. A challenge, called "The three amigos" happened to be near the top of the list on the Daily Paintworks site so we decided to give it a try.
The challenge is basically to paint with 3 colors and white. My knee jerk reaction was to go with TOR, Prussian Blue and Yellow Ocher. That didnt pan out. I tried but I could not make it work with the subjects in front of me. Prussian can be a little hairy to work with anyway but I generally LOVE it with TOR. Not so much with Ocher. It wasnt happening.
So... I went with TOR, Yellow Light (Utrechs yellow light which is deeper than the others, I think) and Ultramarine Blue Deep. And white.
The result was a harmonious little painting that has the qualities I look for. Quiet. Meditative. And just enough "POP" but not an explosion. :)
I think I'll be doing more of these little challenges. I found myself experimenting and working through a few failures to SUCCESS!
This is the second study I did for "Bumper Crop" changing the background and keeping to a more analogous palette. I also thought it wise to play with the blossoms a little before attempting the larger painting. :)
