Grand Marnier and Bananas

3/10/10 "Grand Marnier and Bananas", 12" x 10", Oil
I decided to put a timer on this painting in order to focus my attention better. Its easier for me to focus when painting out of doors because the light changes so quickly I am forced into it. In the studio, there are more distractions. I'm not sure I like the white bottle--I like the color as contrast, but maybe not the fact that it is sticking up out of the painting--an experiment in cropping.

Custard Dish and Spoon

3/9/10 "Custard Dish with Spoon", 8" x 8", Oil
I'm not actually sure this is a custard dish, but it was fun to paint.  This painting is a little abstract and I was having fun with saturated color.

One of my subscribers asked me about how I prep the panels, what kind of gesso I use and how I lay in the paint.  I either use cut pre-primed linen for these smaller paintings, or more frequently, panels made from 4-ply all cotton rag museum board.  I get the museum board in 32 x 40 sheets and seal them on both sides with Gamblin PVA glue.  Then I roll on (with fine white roller) three coats of Basic Liquitex Gesso (not Liquitex Pro) to one side of the sheet.  Then sometimes I put an imprimatura (transparent toned ground) on the entire sheet.  Lately I've been using ivory black/ultramarine mixture diluted in Gamsol.  I put this on with a large foam brush.  Then I cut the panels with my mat cutter.  Of course everything has to dry in between layers.

I usually start the painting with a rough structural sketch (meaning placement/design rather than detail), then a thin layer of paint (not diluted with turp or spirits) using a big brush such as a #10 filbert or #10 round bristle brush) with big flat shapes of color to develop the value structure of the design and the color structure of the design.  Then I go back with thicker paint to work and finish the painting.  It doesn't always go like this from start to finish--if something is not working, then I may scrape off paint or redefine the design with structural lines.  This is just a general outline.

Hope this answers the questions!

Red Vase

3/7/10 "Red Vase", 12" x 10", Oil
Painting red is a challenge--and photographing it to get all the nuances of red is also a challenge and doesn't always work.

White Bowl with Orange

3/5/10 "White Bowl with Orange", 10" x 10", Oil
The thing I probably like the most about painting is finding color harmonies.  This one is about yellow/orange and its complement, blue/violet.

Purchase this unframed painting.
Contact me if you would like to purchase a plein air frame.

Two Apples

3/4/10 "Two Apples", 9" x 9", Oil
This was a quick study under a studio light.

Green Mug with Orange -- SOLD

3/3/10 "Green Mug with Orange", 12" x 9", Oil
I've been working on set ups with close values, so here was trying to get more value contrast.

Roses with Apple -- SOLD

3/2/10 "Roses with Apple", 12" x 12", Oil
This is similar to a painting I did a few days ago--I like painting these roses and I like the square format.  Values are close because of the natural light from the skylight, so that was the challenge.  Another quote I like from my small book on Sergei Bongart:  "A painting is not finished when every blade of grass on a field is painted...or every leaf on a tree.  A painting is complete when the artist feels he has expressed what he wants to express."

Liz in Green - NFS

3/1/10 "Liz in Green", 12" x 8", Oil
I couldn't bring myself to paint another still life today and in fact, wasn't sure I could paint at all!  Then in the afternoon I got a second wind and thought I'd try a simple portrait sketch.  When my daughters are at home, they will sit for me, but they are at school, so I painted from a black and white photo.  Its more fun to paint from a black and white photo because I can avoid having to interpret the completely inaccurate and inharmonious color of a color photograph.