Still life study of 3 onions

Used the 3-value underpainting to establish shapes and guide the color values Study topics 3-value plan; monochromatic wipe-out underpainting; pre-mixing colors on palette Process notes Toned canvas with transparent earth red thinned with Gamsol, then drew in the shapes with the same paint using a synthetic round brush. Lifted out lights and added thicker areas of darks, leaving the toned canvas as the middle value. The underpainting in transparent earth red, with the first spots of color applied Pre-mixed my basic set of colors before starting on my new wood panel. I wanted to do less scrubbing in of color…

Still life study of red onion

Still life with diffused lighting Study topics 3-value plan; monochromatic block-in with greys; color block-in with large brush Process notes Set up a red onion against a natural colored linen fabric, with diffused indirect lighting. After doing a sketch and establishing the value structure, blocked in the subject on the panel with deep, medium, and light Portland Greys. Color palette: ultramarine blue, naphthol red, cadmium yellow light hue, titanium white Brushes: hog bristle bright size 12 and filbert size 4; Ivory rigger size 2 The panel I used was one I had made by securing a piece of cotton duck…

Still life study of red onions #2

Study topics Painting from life; 4-value plan; using synthetic bristle brushes on smooth panel Process notes Sketched 4-value plan of dark, dark middle, light middle, and light. Set up palette with 4 divisions and a small blob of grey at the top of each section to represent dark (dark grey), dark middle (Gamblin Portland Grey Deep), light middle (Gamblin Portland Grey Medium), and light (Gamblin Portland Grey Light). Roughed in subject with thinned paint in a yellow ochre color on a Silver Brush Bristlon brush. Blocked in colors, moving from dark to light. Once it was blocked in, I refined…

Still life study of red onions

Study topics Painting from life in order to see more colors than in a photo; finishing a study; lost edges Process notes Made a notan sketch, then blocked the subject in on a gesso-coated 6×8 piece of cardboard. Started by blocking in the shadow shapes, then the not-in-shadow shapes. Once it was blocked in, I refined the shapes and colors. Finished with some lost edges. Palette: ultramarine blue, permanent alizarin crimson, cadmium yellow light hue, titanium white What I learned This cardboard surface seems to really absorb the oil in the paints quickly — the surface tacked up more than…

Lost edge study in merging light values #2

I enjoyed painting the subtleties in these pears I wanted to keep going with the color palette from the previous lost edge study this photo of a couple of pears intrigued me. I liked the contrast of the cut pear next to the whole one and it felt satisfying to paint those subtle details like the darkened seed area in the middle and the very slight green halo around the edge just inside the skin. My 100 Starts project was all about getting larger, simple areas of flat color in quickly, so it’s been a treat to slow down and…