Fractured Pear and White Berries

During the January 30/30 Challenge I attempted a process called fracturing and painted an image called Fractured Apple. I thought I'd try again because of experiencing an interesting sense of creativity that was loose and somewhat abstract while exploring the process.

So here is the second attempt to play with this process, and I experienced the same feeling in the process. The only changes were the pear and the berries.

Fractured Pear and White Berries
Oil on Linen Sheet 9 x 9
© 2015

After looking at this for a couple days now, I think I see this process as a metaphor for creativity because out of the chaos on the surface markings there is still an order to the image. It feels expressive and freeing to do something like this after so many years of more formal efforts.

30/30 Challenge-Fractured Apple-Day 30

We made it!! This month's challenge for 30 days of painting has been eye opening for me. It was like clearing out all the random thoughts and ideas that have been floating around in my head by doing exercises, and experiments without any worry about the results. Only goal was to search and learn from each painting session. You could say it was simple brainstorming much like a writer might do all the while searching for a 'story' to develop.

One extra activity I finally had time to do is watch the Julie Ford Oliver instructional videos on Daily Paintworks... it is a very creative and intuitive process she calls fracturing, and I couldn't think of a better time to explore her technique.

Day 30

Fractured Apple and Blue Berries
Oil on Linen Sheet 9 x 9
© 2015

I started with apples at the beginning of the 30/30 Challenge, so I thought I'd finish up with an apple using the fractured technique. It's a first attempt, and the only things I changed was substituting the squeegee with a rubber angle tipped shaper/wipe out tool that was already in my supplies, but will definitely make the kind Julie recommends in the near future. I also don't have as much layering, was afraid it would go muddy.

It was great fun to try! You should check out Julie's work to appreciate the potential!

Thank you all for visiting, reading and commenting on this 30/30 Day Challenge. Hope this record of my experience has brought some insight and ideas for your work too.

30/30 Challenge - Huge Solitary Lemon - Day 21-22

Well, it's now day 21 and I'm still on track. Have to say that I've been feeling a little bit of resistance mostly because I want to put more time planning before starting a painting, but if I've established a new habit of painting everyday, then I won't feel defeated no matter what the outcome. The daily posting to the hosting blog is probably the most challenging to accomplish in this exercise because of the time limit on when posting is closed for any given day.

Day 21

Why this lemon?? Well, I've seen a lot of lemons, but none the size of a large orange!! This has to be the largest lemon ever - it's skin wasn't smooth and yet it wasn't very thick either. Just seems so unusual, but then I don't get to see them growing in their natural environment. Never the less, it wanted to be painted, right?

Once again with reflected light. The light source is again at the top, like high noon. I'm trying to keep most things consistent to see if I notice the color nuances more easily with fewer variables except for the main object.


Day 22

Decided to paint this record breaking lemon again with another light angle so I didn't get the halo effect on the table top-and a few minor changes in the setup. Lemon turned, changed the color of the table top, and added some greenery.

Still working on reflected lighting which is a huge challenge for me, but lots of fun trying. Also limited the time to complete so I don't think so much about the decisions.

Tip: This may seem obvious to you, but it wasn't readily apparent to me. The metaphor that comes to mind here is I 'couldn't see the forest for the trees.' Even when I squint, I've found that I'm noticing too much information when I begin a painting so I've decided to work with a setup from a greater distance so I don't see so much detail. If I need to see some more specific detail, I'll just walk up closer to see it. I think this will certainly help me see larger shapes first...

30/30 Challenge - Solitary Onion - Day 20

We (meaning all the participants in the challenge) are two-thirds of the way complete!!
I must say, I am feeling several emotions ranging from panic to relief that we are on the home stretch... just 10 more days to create/paint something and get it posted. I've learned more than a few things about myself and the painting process.

So for today, it's a solitary onion that sprouted after sitting in the studio for weeks! Nothing about the materials changed except I used Senso clear acrylic primed canvas.

Day 20

Didn't make much fuss - just wanted to paint what I saw paying particular attention to reflected light. I plan to work with this idea in the future and consider the direct light, the reflected light, as well as the ambient light. There really is a difference and especially noticeable when working with 'whitish' objects. I will be more deliberate about setting things up next time I work on this idea.

The background in this photo shows more color intensity than the actual painting. I'm thinking my camera may need some adjusting, as well as figuring out a fool-proof way to get rid of the darn glare.

Since, I'm tired and hungry right now, I'm calling it a wrap!!

30/30 Challenge - Values - Days 1 thru 3

I decided to join this challenge (30/30 Day Challenge) to re-inforce my determination to paint more in 2015... my posts won't be daily, to ensure I do not spend too much time posting more than necessary; and it might make for more interesting reading.

I will likely be posting unfinished paintings along with some that may get to the finished stage. My main goal is to paint or draw each day, but also will use this as a study tool and working on various elements in art. Will also be exploring materials.

These first were each given a short time with the idea of translating them later into B/W images to check my values. As you may already know, seeing correct values in colored paint is one of the biggest obstacles a painter faces. This is one exercise that I'll be repeating in various subjects to see if it makes a difference on how I see the values.

I know the reader will be at a disadvantage not able to see things in person, and there is some undesirable glare from the lighting - but here we go... and hopefully it will give you some ideas to work on too.

Subject: Values/Apples - keeping things basic to start.

Day 1
Using lighter a background to see if I can still pull off the value relationships. I do see the relationships and think maybe the values could be pushed a bit more... The light I used on the setup wasn't very strong light so this is about right and true to what was there. The halo around the shadow was actually there...

 

I think these apples have more detail than I needed to show.

 

Day 2

Once again with the apples... about the same today. I remember that nothing in shadow should be as light as the area(s) in the light. Since I used a light background, it will be a bit more difficult to follow this rule.

Less detail, and notice the yellowish spot doesn't show separately
from the red shadow area.

Day 3
Third try on the apples with the same setup including the lower lighting. Hmmm... except for the highlights, the background is still picking up more light than the rule would suggest.  Now, I really do wonder about that rule... will try apples again later in the month with a stronger lamp to see if it makes a difference. My thoughts are that this rule applies with each object, and not necessarily all object collectively in the entire painting.

NEXT comes playing around... ever wonder what to do with all those studies that will never be sold and likely tossed in the garbage in the very near future? How about wallpaper or quilting pattern ideas!  ;o)

© 2015

Onion Basket Oil Painting

Onions were the first food I ever attempted to draw, or paint. The shape, papery layers, and color variety are just perfectly tempting for oil painting.

Tried several variations on the arrangement before settling on this one. Wanted to work on looser brushwork and textural forms, and thought more variety would keep me from over focusing. Lots of different textures with glass, fabric, smoothness of onions, and roughness of the basket.

While finishing up with this painting, I had an 'aha moment' about selecting a visual idea for any painting; keeping the concept in mind while working on the painting, can be the real challenge.

Onion Basket
16 x 8 Oil on Canvas Panel
© 2014

Will post another onion piece soon still on the easel with less textural elements. Yikes, also running out of time to do an Xmas painting. Better get going... still catching up from my trip to Hawaii!! ;o)

Thanks for looking!

Something about lemons and oil painting...

I don't know why exactly, but lemons are one of the prettiest things to paint. The light and shadow temperatures are easy to see, and harmonize so nicely. I don't even think about the sour pucker power they stimulate at other times. In painting, they just seem beautiful, fresh, and sunny. Must be the color, texture, and smell that I enjoy.

Was working towards a higher keyed painting with this couple... loved the extra little blossom too. Computer insisted on making the background more blue than aqua, but the painting looks quite nice in a gold frame. Might have to hang this one for myself.

Blossom between Two Lemons
8 x 6 Oil on Canvas Panel
® 2014

Pumpkin Oil Painting

I know, I know, It's been awhile...  since I last posted anything. Not because I didn't think about it, but I was quite occupied with many other activities. During that time, I even retired from Real Estate and went to Hawaii for a week! Completely unplanned, but a most needed break.
No computer, very little telephone, very little TV and all the other distractions that work life can bring. Loved spending time with my daughter and granddaughter. Helped put things in perspective, Oh yeah!

Anyway, I have a painting or two that havn't been posted yet. Partly because they were not finished. In fact, this one still needs to be signed.

I try to do one fall pumpkin painting each year. It seems a good measure of how my skills and materials are getting along together! ;o) So much to learn, so much to improve...
Eventually, when I do one I can reproduce for a seasons card series, I'll let you know!

Pumpkin in Blues
8 x 16 Oil on Canvas
© 2014/Fall
Call for Price

This painting was on the easel for quite awhile... a few changes here and there. I want to thank the critique group for their feedback too. That single blue petal decided the finish.
Need the signature now... and then the varnish.

Thanks for looking!

Turban Squash - Still Life

This was getting back to my usual palette - and all I can say is what a difference. It shouts in comparison. Lots of fun to paint. Could end up in the oven...

Turban Squash - SOLD
6 x 6 Oil on Canvas Panel
© 2013

Really Fresh Garlic!

This painting is the second done in my new studio. Subject is 'really fresh garlic' pulled straight from the ground. My neighbor Cindy use to grow these in her garden and they were amazing! I used a photo as reference, and added a little artistic license with color.

I think the most amazing thing about this painting for me was when I took it to a critique session, it sold on the spot! We never really know when someone will fall in love with an image. ;o)

Really Fresh Garlic - SOLD
6x8 oil on canvas panel
© 2012