Close-up of "Berries in Blue Pitcher"
Monday, December 28, 2009
Close-up of "Berries in Blue Pitcher"
Sunday, December 20, 2009
Spent the morning painting in the studio with my artist friend and studio mate, June. We had a very productive morning. Since my last posting I have been correcting values, blending, adding more strokes on top, and painting the flow blue china pitcher. I had to drag out the David Leffel book to see how he paints flow blue. Quite a challenge, but I'm pretty happy with it right now.
It was good to get the detail into the flow blue pitcher as the pattern in the background will be softer-edged, and it would have been tough to tell how soft if I didn't have the focal point detail to judge by.
Left to be painted is the pattern in the background, the large pitcher, berries, and foreground cloth. Can't wait to paint the berries...but painting them will be like dessert!
Wednesday, December 16, 2009
"It is actually one light...an incandescent lightbulb (100 watt) in a silver metal cone that is about 10" across. A shop light basically.
I have a 1 x 2 piece of lumber from floor to ceiling that I can attach the lamp to. It's off to the left of the setup.
I do have a wall of black foam core on the left so the shop light peaks over the top and gives the lighting on the background and since it is wide it also peaks around the front edge of the foam core wall (and an extension...whatever was handy) giving the light falling on the front of the objects. This type of side lighting is important for light and shadow (chiaroscuro) painting, it gives you a structure of light and dark, and moves your eye from left to right.
You know, I have never had anyone teach me how to light a setup until I started studying with Deb. I have learned about cool lights, day lights, incandescent lights and what effects the light has on color.
I am using an incandescent light bulb like you would use in a living room lamp which gives off a very warm light. That means my shadow areas will be cooler than my light areas in color temperature. When people talk about painting in north light (which is very cool) their shadows are warm and their lights are cooler in relationship."
Close up of "Berries in Blue Pitcher" (Work in Progress)
"Berries in Blue Pitcher" 16 x 20" Pastel on Wallis (Work in Progress)
Spent some time in the studio today working on the background mostly, and a little work on the pitchers adjusting color, shape and value. Will be working on it in class on Thursday night, and will post my progress.
Tuesday, December 15, 2009
Sunday, December 13, 2009
Starting a new painting today with a concept of "intensity", which means the colors are fairly muted until you get to the focal point (blue pitcher with red berries) where the intensity of color really makes it pop out. I also wanted a background that wasn't overpowering but would add an element of design.
" Berries in Blue Pitcher", 16 x 20" pastel on Wallis (Work In Progress)
Friday, December 4, 2009
1. The left side of the painting with the onion in partial light just wasn't working. It was hard to read the onion skin fragment and it led to the left onion with wonky lighting and you got stuck there. So at my pastel instructor's suggestion I moved the left onion all the way back in the shadow. This, hopefully, brings the viewer's eye into the painting at the partial fragment of onion skin, then to the reflection of it in the brass pitcher and then to the right onion which is my focal point. There was some discussion of leaving it out altogether, but decided it might bring a bit more interest to the left side.
2. While I liked the looseness of the painted brass pitcher in the early stages, the onion, especially the one on the right was painted at a more thorough level and the two (the onion and pitcher) then looked too different. So I brought up the brass pitcher to the level of painting of the onion, especially the handle, and smoothed out some of the strokes in the main body of the pitcher.
I learned a great deal from this study (as well as the others):
1. Everything in the painting must have a reason for being there, including how it is lit and what purpose it serves in leading you to the focal point.
2. To put down my blacks/darks first before adding color, especially red, as putting down the color first and then the blacks/darks makes the red shadows look grainy and muddy.
3. Wallis is a far superior paper for my technique than Colorfix by ArtSpectrum. The latter's tooth is completely different than the former which makes filling the early layers very tedious with more blending than I care to do. The surface on finished pieces of CF look lumpy.
Thanks for following along! Back into the studio on Monday for another study...maybe it will be the brass pitcher again.