12/19/2017 3:06:10 PM
Sometimes painting is a perfect metaphor for life. When I designed this still life, I wanted it to be about the shimmer of light as it sweeps across the table. In order to get that effect nothing can be painted in isolation. Each object shares its reflective light with its neighbors. Scumbles of color bridge the gaps and allow the eye to move around the entire composition creating a feeling of unity.
I hope this season brings light to your life that you can share with those around you.
Peace,
Vianna
Using a dry brush and very little paint I scumbled or lightly brushed some of the color of the onion into the gap between the onion and the pot.
12/11/2017 3:14:18 PM
During the painting of a demo the most common question is, “Do you always start that way?” My answer is, “No, I always start with what is easiest.”
One advantage of painting for a long time in different mediums (and while working with different subject matter) is that I have learned many ways to start. Plein air painting a moody sky in pastel calls for a different approach than painting a large oil portrait commission. My approach in watercolor depends on if I am doing a quick sketch or layering to create an intricate composition. In each case I am still making decisions to organize the visual elements of shape, value, edge and color to express a concept. How I begin depends on what will give me the surest route to success.
How do you choose what is easiest? The most important decisions are made before the brush touches the canvas. First, I consider the time. When I am plein air painting I know that the light will change quickly on so my focus goes to getting the correct color notes of the light with very little drawing. If I am painting a large still life or portrait in the studio, and there in no time constraint, then I may do a complete under painting where the values are correct. This makes working on a larger scale easier.
Underpainting
Another consideration is beginning with a section that I know I can describe. One advantage of painting for many years is building up a memory bank of palettes. When I looked at this still life, I knew that I could mix the light area of the pot by using a mixture of viridian, cerulean blue, cadmium yellow and white. I knew that because I have mixed similar color in the past - it is a color that occurs in both water and sky. Using my previous experience made the decision to start with the blue-green light of the pot easy.
Finally I begin with an area that will have a major influence on the painting. This may be a background, part of the subject, or a value extreme such as a lightest light or darkest dark. The “thing” you are painting is not as important as the relationship of all the visual elements together. That is why the start is so important. When you lay down a stroke of pigment you are committing to building a series of relationships to that stroke. When I did the underpainting in the still life, I was committing to the shapes and values of the composition. With the design in place I turned to color. The blue-green is central to the composition. By painting it first I could compare how bright the other colors should be so they do not compete with it. This approach of underpainting - choosing a section I could describe and focusing on what would have the largest impact - gave me the confidence to move forward with the painting.
One advantage of starting different ways is it gives you options if you run into trouble. If I am painting from a model using a plein air approach and it is not working out, I can always start over and do a detailed drawing or underpainting. I can tone the paper or canvas and paint the lights, or I can start by painting the shadow pattern against a light background. Options allow me to test my way to success.
Just remember, there are lots of ways to start paintings and I always choose the easy way.
This painting is busy drying and awaiting final tweaking in the studio. I'll post the finished work in a future blog. Until then, Happy Painting
12/6/2017 9:40:57 AM
Here it is- my annual holiday list of art stuff. Enjoy!
Centurion Oil Primed Linen Panels: These are my favorite painting panels for plein air but they are great for the studio too. Centurion Canvas Oil Primed Linen Panels are lightweight with the slightly textured surface that your paints will glide across. Like all oil primed linen, you can easily wipe back to the canvas while the paint is wet. They come in a wide variety of sizes and the cost is very reasonable. I like to stock up on them when they go on sale.
http://www.jerrysartarama.com/centurion-deluxe-oil-primed-linen-panels
Sunny Day Farm(sold) was painted on a Centurion Canvas Oil Primed Linen Panel.
RCA Universal Video Tripod AC-O35: I have been through a lot of tripods in my painting career. They wobble or are too big to carry around and a couple of them have worn out after one year of use. This summer I found the perfect tripod for my plein air box. It is light-weight (2.8 lbs.) and incredibly sturdy. It extends to a full 56” in height but folds down to 22” so it fits easily into my carry on. The head which attaches to the square quick release plate on my box fits so securely that there is no wobble, even when the box is loaded with painting supplies. Where did I find this wonderful tripod? I found it at the local flea market for $10.00. Why am I listing it here? Because this tripod is still available around the internet. I have seen it on eBay, craigslist, and other online stores. The price is usually around $10.00. If you are interested I would do a Google search to see if one is available. I listed a link for an online offering below.
http://www.gulamshop.xyz/tripods-monopods-c-587_1222_1427/rca-universal-video-tripod-ac035-range-235034-56034-super-lightweight-p-10280.htm
My tripod in action in Florence, Italy.
Mighty Mite Jr. Brush Washer: For the past couple of years I have been using my Mighty Mite Jr. brush washer to hold solvent when I go plein air painting. It holds 4 oz of liquid and is a lightweight, shatter and leak-proof, chemical-resistant plastic jar. The removable stainless steel insert works well to clean off brushes and allows pigment to settle to the bottom. I find it holds enough for two painting sessions and afterwards I can easily clean it with paper towel. The Mighty Mite Jr. fits perfectly into my Guerilla 9x12 laptop painting box.
https://www.judsonsart.com/collections/oil-accessories/products/guerrilla-painter-mighty-mite-brush-washer
UArt Boards: UArt 400 grit is my paper of choice for pastels and Dakota Pastels offers UArt paper mounted on archival boards. They are great for plein air - no need to tape your paper and framing is a breeze. I like to use the larger sizes for studio work, because the framing is easier and I do not have to worry about the paper buckling in humid weather. They are sold on other online stores but are much cheaper through Dakota. If you purchase 10 or more of any size you will receive a sizable discount. Go in with a buddy to order $200.00 worth and receive free shipping.
http://dakotapastels.com/pages/paper-uart-board.html
I used a UArt bord to paint a storm rising over the mountains in Fiesole
A Mine of Beauty (a book about William Trost Richards): Many of you were impressed with the work of William Trost Richards who I blogged about a few weeks ago. There is a wonderful book that features all of the “coupon” paintings that he sent to his patron. The images are beautifully printed and the book is a source of inspiration for landscape painters no matter what medium you work in.
https://www.amazon.com/Mine-Beauty-Landscapes-William-Richards/dp/1555953824/ref=sr_1_1?ie=UTF8&qid=1512330177&sr=8-1&keywords=william+trost+richards
Gamblin’s Gamvar Satin Varnish: I used to find the task of varnishing oil paintings daunting. First you had to wait at least 4 months to apply the varnish, second it was difficult to get an even coat, and then the smell would drive me out of my studio. This year I discovered Gamvar, which is a varnish that you can apply when the oil painting is dry to the touch. It is easy to apply with a brush, quick to dry, and low in odor. I used it on several of my paintings, including the commission of Judge Peter Maceroni and it really makes the colors glow.
http://www.jerrysartarama.com/gamblin-gamvar-satin-varnish
Podcast - The Sculptors’ Funeral: When we were in Florence a morning was spent touring artists’ studios. Our last stop was the studio of the sculptor Jason Arkles. His work was stunning and he gave the group an informative and entertaining talk about his process. It turns out he has a podcast called the Sculptor’s Funeral, which is a fascinating look at all things sculpture. It is a mix of art and history and a great listen while you work in the studio.
http://www.thesculptorsfuneral.com/
Terry Ludwig pastel sets: I have sets of my Terry Ludgwig pastels available. I am finishing up this portrait of my daughter using both the Portrait and Still Life sets. They would be a perfect gift for yourself or that special pastel artist in your life. You can purchase them from my website by clicking here.
I began this portrait at a workshop last year and have dragged it from workshop to workshop as an example of color, portrait and interpretation. I am spending the last month of the year finishing up paintings.
Portrait set on left, Still life set on the right.
Happy painting!
