Teacup and Apple Blossoms - WIP

"Teacup and Apple Blossoms" work in progress
10 x 16 pastel on paper

More work today, adding color, smoothing things, adding some atmosphere. Really warmed up and toned down the pink today. I have one apple blossom in....we'll see how that goes tomorrow ;-)

My friend, Kate, sent me a question regarding my comments from yesterday about the drawing and why I would wait until the end to true up and worry about symmetry. Great question Kate! Thought I would share the answer with others.

As you add in layers of pastel color and "mush" edges of objects you often times lose the accuracy of your drawing. To check symmetry I draw a series of light pastel pencil lines (for example, one vertically down the center of an object and then measure side to side to make sure the edges are equidistant from the middle.)

No matter how accurate your original drawing is you will lose a good deal of it painting a still life in pastel. I wait until almost the end of the painting to "true up my drawing" because by that time most of the painting consists of small tweaks and the integrity of the drawing is easy to hold on to.

Thanks Kate, great question.....

Teacup and Apple Blossoms - WIP

"Teacup and Apple Blossoms" work in progress

10 x 16 pastel on paper

Working in the studio Monday and today to work up the teacup, pitcher and small jar up to about the same level of completion. Still have to get the handle and apple blossoms in. Then I will go back and check the symmetry of my objects and true up the drawing. Then the last step will be to work edges and correct any problems.

Fine Art Views Competition for May

If you click on the title of this post it will take you to my entry to the monthly Fine Art Views Competition (May).

When you get to my entry I would love it if you would click that you "like" this painting!

Thanks!!

Silver Pitcher and Apple Blossoms - WIP

"Silver Pitcher and Apple Blossoms" Work in Progress

10 x 16 Pastel on White Sanded Paper

Working on a new still life painting after taking a breather with landscapes over the last six weeks.



I began like I always begin, laying in my dark structure, then adding color to the darks, then working on the lights. Today I worked on the pattern of the roses in the teacup.



Everything is still pretty rough, but I think it's going in the right direction.

You may remember this little number, the cuties/white pitcher and lace. I knew right away this wasn't going anywhere. It recently got put in the trash. You win some and you lose some.

Sunset Orange

"Sunset Orange" 11 x 14 Pastel on Wallis

I've been studying some of the more colorful work of landscape painter, Kim Casebeer. I love her use of oranges, yellows and reds. Her neutrals are also stunning.

Here is my attempt to replicate that special mood she creates at sunset. I started painting it yesterday on a piece of Wallis sanded paper that I washed off. (The original painting on the Wallis didn't work!) Finished this afternoon at the studio.

We have a new sign at our studio, made by June's Dad. The outside of the studio also got painted a nice sage-y brown. We also have new numbers on our unit, the door painted, and a new light fixture. We're moving uptown!!

Affordable Art Sale

I will be participating in the Lakewood Arts Council's "Affordable Art Sale", May 3rd-23rd. Here are my paintings that will be available.

"Green Grapes" 9 x 12 Pastel

"Eggs and Green Pot" 8 x 10 Pastel


"Eggs on Pink" 5 x 7 Pastel

"Cuties" 5 x 7 Pastel
SOLD

"Eggs and Sake Pitcher" 8 x 10 Pastel

Walnut Creek - Finished Painting

This 11 x 14" landscape is pastel on sanded paper (Elephant Colorfix). The photo was taken five years ago at Walnut Creek Recreation Area southwest of Omaha, NE. The area has sentimental meaning for me and I was happy to be able to finally paint this.



I started it yesterday and finished up today in the studio.

"Walnut Creek" 11 x 14" Pastel on Sanded Paper

Mexican Pitcher Finished

"Mexican Pitcher" 11 x 16" Pastel on Wallis Sanded Paper

Just in time for Cinco de Mayo on May 5th!

"Tenebrism" is a term I've heard from Deborah Bays many times. Here is the Wikipedia definition of "tenebrism". I've come to understand it in the context of chiaroscuro as being very dramatic lights and darks...maybe to say the dark end of chiaroscuro. I'd say of the pieces I have done while studying with Deb this is painted in a tenebristic style....moreso than my other paintings. I love the high drama in my paintings, but not in my life!!

As you will read, Caravaggio was probably the first to paint in this style but painters after him were identified as tenebrists. Here is a lovely painting by Hovsep Pushman, or this by Emil Soren Carlsen.

What a Blessing....Thank You!

Before I share my newest still life work in progress, I'd like to take this lovely Sunday morning (in Denver) to count my blessings...you! I appreciate each and every one of my followers on this blog. I find so little time to be able to respond individually to your kind remarks and encouragement. Please know you keep me motivated and inspired to paint!!! Thank you from the bottom of my heart.

Photo of my still life set-up...I am working from the live set-up,
so this viewpoint is a bit different from my painting


Drawing and starting to get the darks in

"Cuties and Lace" 11 x 14" Pastel Work in Progress
First layers of color, adjusting values, and correcting drawing

I started this painting on Friday, setting up the still life, a process which should never be shortchanged. I could have spent more time on this but I was in a hurry to get started. Can you relate to that??

The lighting on this is warm, so my shadows will be cooler (than warmer).

My concept for this is "color" as outlined in "Oil Painting Secrets of a Master" about David Leffel's approach to painting. The idea being the orange color of the cuties starts on the left side and grows in intensity across the painting plane until you hit the focal point which is the cutie leaning against the plate and in front of the pitcher. OK, understanding what I'm supposed to do and accomplishing it are two different things here, but I am learning through lots of practice and reading. David says "..you can only paint to the level at which you understand.." (I think the quote is close enough.)

I decided to paint the cloth underneath the lace first, paying attention to how the light hits it through the lace. I could have done the reverse...paint the color of the lace and then paint the dark holes of the cloth. However, one thing Deb has always said is "you paint up". In other words, you start with your darks and work your way towards the light. Just like you start with harder pastels, in general, and work toward the softer pastels. This is the reason I have lots of Ludwig soft "whites" to make sure the soft whites will go over the harder darks.

My challenges for this painting:

- keeping the left side cuties from stopping the flow by lowering their intensity compared to the focal point
- the obvious, painting the lace..both the pattern and the perspective (which is already bugging me)
- expanding the right side of the painting ever so slightly (I always seem to crowd the right side)
- the drawing challenge of the flutes in the pitcher and saucer (I have painted this before and know it's a pretty good challenge)

I'm sure this list will grow as I go along ;-)

Great Video

Have to share Jan Blencoe's post on her blog, The Poetic Landscape. It's titled Creativity and Mistakes. Make sure you watch the video she is sharing by Eric Maisel on Honoring the Creative Process!!

I thought it was very appropriate to share after my week of experimentation.