The last day of Juliette's still life painting workshop was today. I am so excited to get back to my studio and practice all the new techniques I learned! More on this pear painting at the end of this post.
Here are many of the paintings and excercises I produced during the workshop:
(brown paint is applied and then "wiped out" to show white canvas beneath)
previous post. This is my first attempt applying all of the techniques in a single painting. But after a couple days I decided I had composed a painting with too many complicated elements and too-strong contrasting colors and values. I wanted to try something more subtle to practice the techniques, so I called this one "done" and moved on.
I spent 2 and 1/2 days on this painting. The photograph does not show all the subtle "tiling" I sweated over, but you get the general idea. Juliette encouraged me to slow down (apparently my Daily Painting practice has made me a "speed painter") and look very carefully at the transitions. She had me pay close attention to midtones, the subtle gradations between the darkest darks and lightest lights across the surface of the pears. I feel like I learned so much within this one small painting, and I am so excited to get back to my studio and try more.
I started this painting as a last quick project today, the last day, but did not have time to finish it. But I like the composition a lot, so maybe I'll set it up at home and finish it.
These are the steps Juliette taught for creating a painting:
1. Draw the composition with pencil on paper
2. Transfer drawing to the canvas
3. Ink the major lines with an indelible fine point sharpie pen
4. Paint the whole canvas with raw umber, and "wipe out" to create a tonal underpainting
5. Let the underpainting dry
6. With full color, paint the background, ground plane, shadow side of objects, light side of objects, in that order
7. Apply color with small "tiles"
8. Paint the "least interesting" areas of the painting first - save the best for last
More various notes and tips from Juliette:
- Practice mixing a color wheel with lots of beautiful, clean neutrals
- Lay a note down for a color and leave it - don't over-mix.
- Your palette tends to reflect the painting - mix the colors you will need
- To "pump up" the light in a painting, focus on super-extending the halftones - don't focus on the darkest darks and lightest lights.
- Look at Chardin
- Look at Fantin Latour
- A strong image will read well from a distance
- Economy - solve problems using less (ie, solve an edge using a shift in color, instead of a shift in value)
- Become rock-solid in a few simple things
- Lump shadow shapes and light shapes, not individual objects
- Try one bright color note in a mainly monochromatic painting
- Copy master works, analyze for lines, arcs, value, color distribution
Picture Perfect Viewfinder