Final touches for Still Life #1

I've been putting some finishing touches on this still life, including lightening up areas of the background instead of keeping it one solid colour. The greens in the bottle have been drying at different rates and the camera itself is picking that out as well. When the area dries, the bottle should sit more quietly in the background. The final thing I want to do is to improve the blending in the spout -- my old brushes were making that difficult. That's all that's left before calling it quits and taking the tea pot home.

Red, White and Green Still Life -- nearing completion...

I've spent the last few sessions on small details, softing and hardening edges to bring things to a final finish.
Last night I repainted the bottle, first oiling in the surrounding area so that I could see again the paint that has already sunk in. I still need to lose the edge on the left side or at least make it more symmetrical with the right, even though I've been painting it exactly the way I see it. The other things left on my To Do List include:

• repainting the highight on the tea pot again using white mixed with stand oil to make it both brighter and more opaque than a regular glaze
• smoothing the finish on the spout
• adding a grey glaze to the top of the roll on the red cloth (genuine dust has accumlated now)
• repainting the tea pot's handle, especially the edges that meet the background 

Wayne's Portrait -- Finished and Drying

Well, it took long enough but I finally wrapped up this picture on this Thanksgiving weekend.  I first added glazes of white and blue to the left backround to give the impression of window panes. Then I concentrated on sharpening some edges and softening others on the shirt. The larger areas I worked in are still very fresh and glossy, which the camera picks up no matter angle or setting I use. Eventually, the linseed oil/mineral spirits mixture will evaporate and the pigment will sink back into a dull matte, like the rest of the background and the chest. As it dries over the next six months, everything should even out -- and then come alive when I varnish. Now on to the next one.

Fresh background for the still life

I spent last night resaturating the background with a solid, fresh layer of ivory black/pale yellow ochre (which makes the green of the wall) and linseed oil, and blending it into the edges of the bottle. I also took the opportunity to repaint the bottle with a higher chroma green (Sap Green) and to lose some of its edges into the wet background. I'm not so concerned now with getting a symmetrical shape and the outline of the real bottle does get lost in places. But I still have to see how things look after the paint dries. In the meantime, I'll move on to other areas...

Update on the Battle of Cascina (charcoal and chalk)

I haven't spent much time on this drawing since May but thought I'd post a new view of it as an incentive to continue. The project began a year ago August (click here to view earlier blog entry below) as an exercise to see how well charcoal and white chalk work together on toned paper. I began by concentrating on particular areas, but now realize it's best to take a systematic approach and deal with all dark areas first before venturing into the lights (it's so easy to overdo the white highlights). So I'll be shifting over to the second figure on my next pass...

Wayne's Portrait (continued...)

Since posting my last update on this painting (when I described cropping the painting),  I've been concentrating on finishing the shirt and shorts, with the aim of making the folds and edges softer. I also repainted the left arm/hand (the one in shadow) and face, but still need to reshape the eye slightly. After that, repainting the other arm is at the top of my list of things to do. Once that's done, I'll finish the background once and for all: the drapes, the window panes, and the view beyond. Much of the background drapery has now sunk into the canvas, which is OK. The real challenge will be depicting the window panes with their own reflections and streaks on top of the exterior scene.

Update on the Red, White and Green Still Life

It's been a long while since I've posted a photo of this still life in progress. Fortunately, the list of things to do before finishing this painting of is growing shorter.

I painted the wine bottle in yesterday, using only high chroma greens (vermillion, sap green, and a bit of pale yellow ochre -- no white). Trouble is, the real green background (a mix of ivory black and pale yellow ochre) has long since sunk into the panel so I haven't really been able to blend the bottle back in. In the next session, I'll repaint the background with the green and linseed oil and blend the edges of the bottle into it. I also need to make the outline of the bottle more symmetrical, even though the real bottle is flawed (I keep insisting it is, anyway). One trick suggested: on the computer, trace the outline of one side, then flip it over and lay it over the other side. That should tell me how to correct the other side.

The red cloth just needs a few minor touches. The far right edge needs to be darker and greyer to suggest that it's receding in the distance. This should help make the front of the cloth jump out even more. Other final touches: repainting the leaves and toning down the highlights, and adding a few more scratches/eteches into the edge of the board.

Indirect Painting for Texture

The still life at the school is progressing. Nearly every area is ready now for the second painting stage except for the cloth. In the winter, I painted several layers of white over areas of the the red (an indirect painting technique) to create the foundation for highlights, primarily on the front flap and the middle of the roll. Later I applied several glazes of red back over the white areas, and then the highlights I wanted emerged. What I didn't get was a sense of texture. The cloth has a strong weave in two directions and its edges are very frayed. I should have built that texture into my original layers of white when doing the indirect painting because I can't achieve it with the cadmium red paint on its own. So I'm back at it again. Over the last month, I've applied several fine white lines and white blobs to mimic the pattern. Now when I re-glaze it with red the pattern should be retained... We'll see.

Surgery -- unfortunate, avoidable, but necessary this time

I've been stuck for a long time on this painting. I thought my challenge was dealing with the large windows but the real issue was one of distorted proportions that I unwittingly made in the figure. Most of the distortion takes place in the legs and it is grows proportionately the farther down you go. In the photo below, the source photo is placed to the right of a photo of the painting. Using the head as a measuring unit, my painted figure ends up being half a head too short. This is something I should have checked at the cartoon stage before transferring the drawing. I didn't leave myself enough room on the bottom of the canvas to fix it so..... off with his legs! (Sorry Wayne)

The revised composition is below. I restretched the canvas over 12x18 stretchers and I like the result. I started painting in a background through the windows and will add details of the deck in the lower 2 pane. I also began reworking the figure's facial features, moving the eye and lips down. Next session, the cheekbone will be moved down as well and widened.

When Oil Paint goes to sleep

A few weeks ago, I decided to repaint the background and especially the bottle. I hadn't touched my background since I first laid down the dark greens and it was bothering me, especially where the bottle meets the cloth. The bottle has its own rich local colour, a kind of cool, bluish green that differs from the green wall, and yet it sits in front of the wall so some of the wall has to be seen inside the bottle. Later, highlights and reflections will be added to the bottle.

What surprised me was how quickly the background dried and then faded away into the linen. It's now a kind of dull matte and the bottle green is almost lost in the wall green. Apparently, the expression used is that the paint has gone "dormant" and won't reawaken until it is varnished.

The first photo below shows what the background looked like immediately after I applied it. The second shows the impact of drying, one week later.