A little more work

Some time ago I wanted to compare the relative yellowness of various oils. Additionally, I duplicated the comparison so as to keep one in sunlight, the other darkened. While building these samples I really didn't pay attention to the thickness of applied oils, making my test a bit skewed. But, the difference between light and dark is more significant than I would have imagined.

After a good start over a week ago, I'd slipped away from my brushes. At this point I'm simply blocking in with minimal form and detail.

Back to copy work

I've been in a painting slump, some charts and mulling and such but without any real painting. I was recently lucky enough to be called out on this by a couple of dear friends, both who know that discipline leads to accomplishment. In that spirit, I've turned back to Old Master copy/study work.

I'm working with Meléndez's Still Life with Oranges, Honey Pots and Boxes of Sweets.

Still Life with Oranges, Honey Pots and Boxes of Sweets
Luis Meléndez
A scan from the book "Luis Meléndez Master of the Spanish Still Life"

Yesterday I began by trimming a masonite panel. The original painting is 19" tall but I scaled it down slightly to fit an 18" panel. I applied Golden's GAC 100, Gesso and finally Sandable Gesso toned with an umber aqueous dispersion. I like starting with a toned surface and the sandable gesso allows me to work up a reasonably smooth finish.

Here I've dropped in a background of ultramarine and burnt umber for a rich black and set initial values for the table. Working on a toned surface allowed me to use titanium dioxide Saral. I find it applies much easier than the graphite Saral.

A bit more work on the apricots

Some subtle changes here, glazing the apricots lightly to bring out a bit of red. I've been scumbling in white for next day glazing--there's a lot of that going on with the leaves.

I have some difficulty photographing oil work, particularly with glare from shiny surfaces reducing detail and desaturating the image. The painting looks a lot better here, especially the bottom half. I'll be working on this.

Still at work

I've been poking away near daily with this copy, adding detail and glazing to bring in more accurate coloring. More to come.

Glazing and filling in

Work continues...

Yesterday's glazes dried quickly, leaving me optimistic for more of the same today. Melendez seems to be in general a warm leaning painter and I tried glazing with various pigments to create warmth and build form on the fruit. Having a white or light scumble underneath the glaze brings out a bit of luminosity.

I've been using raw umber for my darkest darks but I think it's too cool, with a slight greenish bend. I glazed the umber with burnt sienna and like the results. (The upper left hand corner is a good example.) I will have to look through my box of pigments for burnt umbers. I so need to inventory my pigments!

Here's a view from one of Timothy's favorite perches, sitting on my piano while gazing out into the yard.

Form and Color

I started this evening with the apricot to the right, with the intent to simply take my time--no easy task for me as I tend to rush things along. I know I will learn more and achieve better results by relaxing into my painting and letting it move at its own pace.

On the right I spent more time with color, the left with form. Which is a better way to proceed? Ah, it's probably fine either way. Careful observation and slow execution are no doubt more important.

Don't push the river,

It flows by itself.

~ Fritz Perls

Preparations

I'm planning to copy a portion of this Melendez painting. The highlighted section is a full page in my Melendez book. I'll be building a transfer to lay out the larger shapes. But first, I thought I'd make a few preparations.

Rather than use my existing oil paints, I wanted to try my hand at my own. Here is an English Burnt Sienna. It's a lovely rich red that I've enjoyed using with egg tempera. I've mulled enough to fill a 20 ml tube. Note the dramatic color change with oil mixed in.

During cleanup, I used the leftovers to lay down an initial layer. I've read that in this painting that Melendez put down two layers of red so perhaps I'm getting a good start. I guess it's quite common with oil painting to begin with a base layer or a grisaille rather than a blaring white surface. You can see here how I use one panel for two paintings. (The tomatoes and melon paintings are on my other panel.) This picture doesn't do the sienna layer justice. It's really so luscious that it looks good enough to eat.

Here's Bohemian Green Earth mulled and in the process of being tubed. I want a warmer green that the  Nicosia Green Earth. This pigment is a very fine grind and requires a lot of mulling.

I also want a warmer yellow and this Gold Ochre looks good.

These three paints just seem to feel right together and will, along with Flake White, probably form my palette.

Tomorrow I will transfer the image and rough in the shapes.

Back to the brush

Just couple of hours work here this evening to try shaping up this piece. The two tomatoes on the right have received more attention right along and it shows. I dropped in form with Nicosia Green Earth, surprised by how well it worked. Highlights are white with Lemon Ochre but they look stark white, leading me to try a yellower mix next time. Also need to work on grounding the fruit as right now they look like they are floating about.

I have three Melendez copy practices in various states of completion and I really want to start a fourth with apricots.

I feel like a melon

This melon is slow going. Once it's all in place I plan to glaze in the form. I'm wondering what might have best for underpainting, as well as if I should have varied the webbing color to match form. Before or after with the form building, that is the question. Another thing is I can't tell if Melendez used impasto here. I will be looking closely at this painting when I visit the MFA.

Midnight

Well, I just couldn't leave it partly complete. I'd have to wait another day before glazing.

1:30 am

Back to copy work

After a couple of down days with a nasty cold, I'm back to my copy studies. This evening was about filling in and a bit of form building. I'm experimenting with how to handle the melon's webbing.

Back to the oils

As I question if I have bitten off more than I can chew, I settle into just one object and try to bring it along a bit. Then move on to another. Piece by piece, I am learning a good deal about modeling in color. Just what color is that shadow? How does that color change as the form turns through shadow into local color into highlight? Try to notice all the gradations on the way.

And as I gain a bit of satisfaction as form develops, only to sigh as I see errors or more detail, it's all a dance of learning and I love it.

Color Swatches

Here's the MFA's Melendez image where I've sampled colors and build swatches. Lot of surprises! Didn't realize how wide could be the tonal range with the cloth and melon. That the cloth shadows are so warm. That front pear is so much more yellow than green. The red on the pears is a lower chroma than I'd expect.

It makes me think that I can model in the melon with a considerable range of tone before working in the webbing.

Another thing... I can try mixing colors with my small set of paints prior to actually painting.

This image was created using Photoshop CS5. If you'd like to know how it was done, drop me a note. It's not really difficult, just a bit tedious. Next time I'll make the swatches larger. Click the image for an easier to see view.

A Third Practice Piece

I'm experimenting with stand oil with the pears; it may take days to dry. So in the meantime, there's a piece I'd like to make into a larger project. The MFA Boston has this Melendez on display and what could be better than to see an actual painting? When I visit I will try to get good reference  photographs.

In the meantime, I'm working on a portion of this painting from a closeup in the Melendez book. Although my painting is 11.5 inches high, the actual painting is about twice that size. I plan to make my final painting full size.

Here's about 5 hours work starting from transfer. I'll take a break now and then go back in for more.

Copy Practice Pears

I fell back to some work on the pears. That background is actually a large melon with a string wrapping. More string to come.

From Luis Melendez Master of the Spanish Still Life:

The melon is wrapped with a string ending in a looped handle and tied to the stem, indicating that it was hung up high and stored away from the heat and damp of summer for preservation over the winter months.

I'm picking up new tricks all the time. This evening I learned to turn form with subtle mixes with white. There is little to no real white in most Old Master paintings. Some artists will mix a "string" of a color with different values, having the set ready to build convincing form.

Copy Work

This work can be addicting! I was up almost all night on this one and the pears.

More Practice

I started a second practice copy to have a few in the queue. This is good in case something needs a lot of drying or I get into ambitious day.

My red is off, more looking more like a pumpkin. I may have to grind up something or other to reach those truer reds.

Copy Practice

I'm beginning to copy sections of Old Masters paintings in oils. I really like Luis Melendez still lifes and I'm working from close up photos in the book from yesterday's post. 11" x 8.5". I'll be refining this painting while working on a few more.

A portion of Still Life with Pears, Melons. Cask, and Plates with Fish.
Luis Melendez. 1764.