Thursday, May 26, 2011
In between, I've experimented on my smaller paintings using Liquin and then no medium, thin, thick, fluid and not. Eventually I'd like to combine techniques. So much to learn and sometimes it feels like there's so little time! Having fun, though. Thanks for visiting!
Tuesday, May 24, 2011
Monday, May 23, 2011
Every once in awhile I love to copy a master painting. From exercises like this I can learn so much: color mixing, painting techniques that are new to me, composition, and even drawing skills. Because I initially had such difficulty with the painting, I stopped and drew her first.
Sunday, May 22, 2011
Monday, May 16, 2011
Sunday, May 15, 2011
Saturday, May 14, 2011
In case you haven't figured out what you're looking at (color here would help), I'm sure you must see what I do: it's a Lady, dressed ever so elegantly. (Okay, it's an ice cream dish overturned, with a clementine sitting on top—it's bottom.)
Friday, May 13, 2011
Thursday, May 12, 2011
There's a story the painting doesn't reveal: while painting from my car I listened to the radio. The day warmed up as I was nearing the end of my painting session. It was humid and warm. I turned on the air (not a/c) and opened the windows. Suddenly my radio stopped working! YES! My battery died. Happily AAA came to the rescue in time for me to pick up my son from school. Silly me. Lucky me.
Wednesday, May 11, 2011
After the sphere, it seemed natural to paint Sarajean's teapot. We premixed the values and then happily applied paint, not really adhering to a systematic approach. From classes I took with Dennis Perrin, I learned the importance of keeping the value families distinct. (And that's what I'm still trying to master!) Whatever is in the shadow stays in the shadow value range. The lights stay in the value range for the lights. You've may have heard the seemingly confusing statement: the darkest dark in the light is always lighter than the lightest light in the shade. (I am now feeling confused myself! I hope I wrote that correctly!) If you've never experienced this or can't imagine it, you could put a black piece of paper in the light and a white piece of paper in the shade and check it out!
Related to that, reflected light in a shadow (as you see in the belly of the teapot) often appears to be lighter than it actually is. Why? Because it's surrounded by darker values. A small hole punched in cardboard can help you isolate the colors and compare them. It's easy to overstate the lightness of reflected light. To make it convincing, I always try to keep it in the value range of the darks. (Thank you Dennis Perrin.)
Tuesday, May 10, 2011
It has been awhile, I know. Life has been hectic. But, I have been painting! Just not blogging. Sometimes you have to choose which balls to keep up in the air (pun unintentional, but why not?!) I'll catch you up on my efforts.
If you don't receive Fine Art Views Newsletter, you may wish to check it out: http://faso.com/fineartviews/30732/put-the-fire-out. Keith Bond's article that arrived in my email this morning touches on just what Sarajean and I have discovered: we need to address and master one problem at a time and have decided to focus on values to start. Occasionally I'll share what we do.
We painted value scales to help us understand the intervals from white to black. As you can see, we did a ten-step value scale, then nine (thinking it would be easier to mix and judge steps that are equidistant from others, since we painted the white and black first, and then mixed the value between each time), then five, which would be good for poster studies. In these exercises, we mixed a black using black and burnt umber, so it would dry faster and not be tacky once dried. We used palette knives to mix and paint, to keep the values clean. I'm not positive my value steps are evenly spaced, but they're close, I hope! Expert eyes would be so welcome, but I imagine even imperfect exercises could lead to eventual mastery.
The sphere here, was painted prior to the formal value scales, but we did limit ourselves to five values to begin, I think. We also allowed ourselves to play with warm and cool temperatures. Rather than keeping it a simple poster study, I tried to figure out how to paint it "realistically." Perhaps this dealt with more than one problem! oops.
Independently, Sarajean and I will practice our exercises and continue to paint whatever and however we wish. If you'd like to share exercises that you found helpful, please do! I'll be happy to make your comments visible so we can all benefit. I expect to be posting more frequently since other demands are quieting down some. Take care and thanks for visiting!