New Mexico Sunshine

New Mexico Sunshine

6x8in  oil on canvas panel   SOLD


This was started on location in Mesilla, a lovely historical town near
Las Cruces. It was finished in the studio at 8 PM after our company left.
A long, but happy day.

Cloudy Sky

Cloudy Sky

8x6in  oil on canvas panel    100. SOLD

Another painting from a photograph.
It was only with certain lighting conditions that the layers of land formations
became apparent. I lived in a high rise for 11 years and this was my view
looking west, right into Mexico from El Paso, Texas.

Artist Note.

Still experimenting with fracturing. The diffused lighting conditions and
soft clouds made for an interesting painting experience.
Values became very important.
Scads of small buildings cover the front hillside, but I went for the mood
of the piece instead of the actual representation, and left them out because
I didn't want a spotty area!
I feel it does capture the atmospheric mood.

Cloudy Day in the Rockies

Cloudy Day in the Rockies

6x8in  oil on canvas board   100.

I painted this from a photo I took a couple of years ago.
I had some of my little travel watercolors to remind me of the colors in the sky.
On long trips, painting passes the time because my hubby likes to do the driving.

Artist Note.

Here are a couple of the sketches from my little book.
They help me recall the colors of the sun hitting the clouds and in the shadows.

Below is the photo reference. Because the light in the sky was so bright
the camera made the shadows very dark. An artist has to look
out for that and make them lighter than the photo. I cannot stress that enough.
If there is a bright sky then it illuminates everything (to a certain degree.)
The shadows are still there, but you can see into them.

Apple Blossom Tea Time

Apple Blossom Tea Time

8x6  oil on canvas board  100.

The apple blossoms are starting to wilt so this is the last one.
It has been lovely knowing what I am going to paint before I reach the studio door.

Artist Note.

This is a straight forward painting. No fancy brushwork...just strokes put down
and left alone. I used a multi-colored mixture, (meaning not blended too much) so the brush
picks up streaks of different tones of pinks. The background had a warm violet color
underneath, over which I placed cooler grays to offset the brilliant color of the tea cup.

Apple Blossoms

Apple Blossoms

 11x14in demo -  not for sale

This was the afternoon demo on Monday.
I used another oriental inspired vase as I think it enhances the beauty of these blossoms.

Artist Note.

This was started with a pink tones canvas and then I lifted out the basic design using a cloth
wrapped around my finger- same method and steps as on previous blog.

I went into a tiny bit of fracturing on the flowers and background.
Still exploring how to do that.

Spring Beauty

Apple and Cherry Blossoms

11x14in Unfinished demo - not for sale.

This is one of two demos I did yesterday. The apple blossoms have beautiful pink buds and the cherry Blossoms grow in clusters of round shapes  and are creamy white.

Artist Note.

I started with a pale, blue toned canvas and lifted the light areas off with an old cotton sock.
(I have a wonderful friend who passes on her sport socks to me...still pristine.)

Next I painted transparently to establish
important dark areas. I find it helps for me
to keep loose at this stage
so I use a big brush. #12
I have a habit of painting yellow
for the light
areas if the light source is warm.


                                                     Moving into opaque paint I

  

shape the cherry blossoms balls
to establish the values and form.
This is a close-up of
the foundation for the Cherry blossoms.
(Looks like a little cabbage!)
When I paint the flowers in top
most of the green will be gone

I mixed two batches of blue for the
pattern on the vase.
Paler for in the light and a darker
blue for the shadow area.
I ended up changing this in the painting
as it dominated too much. I had to decide
if the blossoms were the point of interest
or the vase.

Tomorrow I will show the other demo I did yesterday .

3 comments:

1. 
   JaneApr 3, 2012 11:35 PM

   Just love your tutoring, this piece is stunning, looking forward to seeing next demo.

   ReplyDelete
2. 
   Virginia FloydApr 4, 2012 04:34 AM

   Lovely. I like the looseness of the blossoms. Very interesting how you painted those green "cabbages". It worked out beautifully.

   ReplyDelete
3. 
   KarenApr 4, 2012 06:55 AM

   I especially appreciate the photos and explanations under "Artist Notes". I'm saving them all. Thanks.

   ReplyDelete

Lemon Slices

Lemon Slices.  Detail from a larger painting of mine.
not for sale.



Artist Note.

Continuing how to prevent Cookie Cutter paintings  - no matter what your style.
The whole point is not to surround your object with the same value or color.

On my painting above you can see the linkage by values. 
The shadow side of the small bowl links into the larger vase.
The shadow sides of the lemons are a transition value into the silver bowl. The grape is linked too.

Here are how some well know artists prevented the "Cookie Cutter" syndrome!
You may click to enlarge.


                                                    Grant Wood.  Detail: American Gothic

Everyone knows this piece.
 It is a painting of precise realism,
but notice the value of the peak
area of the house being very similar to the
flesh so it links the two heads together.
If it had been a bright blue sky cutting in a straight line 
their heads would have been too cookie cutter.
His right ear gets completely blended in parts.
Her neck and collar in the light create a nice
lost edge next to the house and the same
blend of values where their clothes meet.
The whole painting is full of ebb and flow
so no cookie cutter here!
                                                 

Cezanne. Detail: Apples and Oranges


Notice on the plate a light yellow apple.
It is a similar value to the plate and it links
into the yellow on the apple behind.
He chose not to heavily outline it like the others
so I think it is a deliberate passage of light
to break up what otherwise would be a
big, round, clump of color against his light cloth.
The background apples are a beautiful
merging of value and color into the back area.
                                                    Brilliant artist. I love his work.

Henry Ossawa Tanna
Detail: Banjo Lessons  (1893)

The boy's hair is obviously the highest contrast
creating a deliberate small area of a cookie cutter
effect with the end of the banjo and mans hand,
but his arm and shirt are a more gentle contrast
against the very light background and the pant
legs are very similar in value/color to the floor.
Deliberate linking of the dark area of the crotch,
up into the vest and shadow side of the banjo,
sets off the round face of the banjo, which is
a perfect value - not competing with the background light.
Tanner was one of the most successful African American fine artists of the
19th century, enjoying an international acclaim. He is worth exploring
further if you enjoy the romantic, European style of that period.

Now you know what to look for I hope you go back over some of your old paintings
to see if there are areas which a too "cookie cutter."

Being an artist is not easy and I still paint something too cookie cutter
and then I sigh, mutter, mutter, and fix it!

Spring Blossoms

Spring Blossoms

6x6in  oil on canvas board   85.

Another painting of the beautiful cherry blossoms I was given.

Artist Notes.

First of all, a huge thank you to everyone who emailed regarding my earlier request.
I had received an anonymous, mean spirited comment about my Artist Notes
and it actually did rock my boat for a little while. But, as you can see, after all the
supportive comments that came in I am certainly going to continue trying to pass
on what I know.

Someone asked me what I meant on the previous painting of blossoms
when I used the term "cookie cutter"

I thought I would use visuals to explain.

When all the values or color are the
same around an object it creates
an impression of a uniform
shape, the same as a cookie cutter
makes cutting into the dough.

 When different values or colors are placed
around a shape it visually prevents the
cookie cutter look. Where two similar values
of different colors meet, the eye can move in
and out at will. Squinting may help to see this.
There is no right or wrong way, only that
I personally find this more desirable and painterly.
Notice there are still some crisp edges.
The darkest next to the lightest
would be where a focal point would be.

When the edges are also softened
with brushwork, it even adds more
atmosphere. Useful in a landscape
for the distance or with an impressionistic
or expressionistic, painting method.

In my painting of blossoms I did not want the
branches to stand out so I used a darker
green value around them with slight variations
of value on the branches too. Very subtle.

Tomorrow I will give examples of some famous art in different styles to explain

even better.

Experimenting With Plums

Experimenting With Plums

6x8in oil on canvas board   Not for sale

Continuing with pushing myself into trying techniques I am not
familiar with.
There is something I really like about this so I am going to keep
it for a while to see if I can repeat it.

Cherry Blossom Study

Cherry Blossom Study

6x8in  oil on canvas board   100.

One of the members of the Guild, Sue Nichols, brought in these
beautiful cherry blossoms. They are from her fruit orchard at the
Nichols Ranch. Cherry season is just around the corner!

She included apple blossoms too, but they are still in tight buds.
She assures me they are even more beautiful than these with pink flowers.
Maybe in a couple of days I can paint them.

Artist Note.

This is the way I paint clustered small flowers to prevent "cookie cutter" edges.
Grapes are painted the same way.

First.
Basic wash of color

 Second step.

Lift out the shapes of flowers
with cloth wrapped around finger
or use a damp brush..

 Third step.

Paint the flowers in two values.
As these are white flowers
place the middle value
(which is as dark as you want to go)
for areas in shade first and then
add the light touches

Fourth step.

Refine and add the small darks.

Your own personal direction comes
in to play here.
If you enjoy fine detail you will find
the basics are already done to work into .
If you are more impressionistic
then the idea is to create the
impression of a cluster by only detailing a few.

I work the background into the outside edges of the cluster creating petal shapes..

Asking a personal favor.

If you enjoy my Artist Notes, but do not like to comment on the blog,  I would appreciate
you emailing me at

juliefordoliver@gmail.com

and let me know if you think they are worthwhile...or NOT!
They take added time, which I do enjoy, in the hope they help someone, somewhere, who does not have access to instruction.
Also, if you can offer suggestions to improve what I do, it would be appreciated .

Thank you.

Julie