I’m still not feeling like painting very much – it just seems like work when I think about it. I painted both of these more as ‘experiments’ than as paintings – which is what made them possible at all.
October 23, 2017
I’ve decided to play around a little with a series of paintings of the same still life approached with different styles. I have two completed and I’m not sure how many I will paint in total – it will depend mainly on my attention span. The first painting was done using the basic technique introduced in the Craftsy course that I completed: Paint & Palette Essentials. I didn’t incorporate all of the ideas from the course, but I did work quite a few in. Overall I’m pleased with the results in both paintings.
August 28, 2017
The last painting from my July Painting Challenge inspired me to paint the same painting a couple more times. I thought I may do a series of these incorporating variations, but after the third one I think I need a break. At least I have a set of three now.
August 14, 2017
July Painting Challenge – Conclusions and Notes
- Started with 20 Exhibition Wood Cradled Panels from Opus – 15 were 8″ X 10″ slim panels (3/4″ deep) and 5 were 8″ X 8″ deep panels (1.5″ deep)
- 3 coats of gesso applied to each panel with a light sanding between coats
- 6 panels were covered with found paper and another 3 coats of clear gesso with a light sanding between coats
- 9 panels were gessoed in black, grey or Venetian Red gesso
- 3 panels were covered with gesso tinted with acrylic paint – light blue and yellow
- The edges of all of the panels were gessoed black and I covered them with green painter’s tape while I was painting
- Each day I started with about a half hour of drawing, often of the same subject that I would then paint. I found this very helpful to get a feel for the values of the subject matter with graphite or charcoal prior to taking on the paint.
- I began most of the paintings with a very quick charcoal sketch directly on the panel.
- I spent between one hour and an hour and a half painting each panel.
- I painted with two spot lights – one directed to my subject matter and one to my easel and kept the blinds closed in order to control the light.
- I played a lot with outlines which flatten the image, but then adding volume into the objects themselves with gradated values.
- Trying to keep the edges sharp was tedious with oil paint and my lines became very inconsistent as a result, which annoyed me. Distinct outlines also created issues regarding shadows and light reflected off the edges of objects and how to portray that in a simplified manner.
- On Day Fourteen, I decided to soften all of my edges – with a favourable outcome.
- I should have known better and not cut the a lemon off on two sides on Day Seven. There was no way I was going to be able to make that lemon 3 dimensional after that. And I completely forgot to add the shadow under the bowl.
- I really need to avoid outlining round objects until I learn to draw a better circle. This was a problem in Day Seven and again on Day Thirteen.
- My lights were quite bright and the room fairly dark, which sometimes resulted in a fairly dark painting, as in Day Nine.
- On Day Twelve I roughed in a few colours onto the pears and was about to start blending them in and then decided I liked it how it was and I just stopped.
- Prussian blue is one of my favourite colours and it turned up in eight of the paintings and the combination of Prussian blue and burnt umber appeared in six of them.
- The last 3 days I used all of the same colours.