Hiya guys, Can't say as many of these dailies have been turning out as I'd like. Painting them each within a set limited time frame has proven challenging and these latest actually extended beyond the 1h set quite a bit.
Still I think it's really good practice to to try to quickly think of all the variables required for a good compo / painting - hues, temperature, composition, light, hard & soft edge, depth, weight and so much more.
I see these dailies as just sorta sprints to prime my brain to think quickly through the problems that I have already practiced thinking about in longer drawn out artworks though. Done on their own, they would probably have the terrible effect of inculcating a shoddy habit of mindless quick painting.
It's a skill to work methodically with precision while still doing so fast. Setting a time limit for a painting like this should be done purposefully as a side to the real practice of creating art where one has all the time needed to work out and ruminate on all the nuances of a piece. One naturally gets faster at it in time anyway.
Anyways all new dailies (that have survived) are posted on Studies before anywhere else so do drop by if you are interested! :)
Hiya guys! I've recently started incorporating these lil' life still life paintings in to my daily warmup sessions!..
Painted quickly alla prima, I'm hoping this will help me hone my life painting skills, especially in colour mixing and observation.
Someday's fall flat, in which case I just wipe the support clean ready for the next days daily. Luckily most days I manage to wrangle up something decent though.. at least so far.. :)
Here are the first few that I've recently made available for collection...
Thanks for dropping by folks!
It was great fun painting this alla prima oil of a subject matter so close to my heart, my mother and little cat (at the time) Crookshanks.
I wanted to really capture the early morning light as it shone brightly, illuminating the dark interior of my mother's bedroom. So, unlike the rest of the piece, the window area was left bare of any toned underpainting. The rest was painted with a limited palette over a toned ground of paynes grey, yellow ocher and raw umber.
Much of this toned ground is left uncovered in the final piece intentionally and background elements have been left with a rough unfinished look.
Went for a much looser technique in this the 2nd of this 3 part series. Whereas the 1st was painted with a size 4 flat synthetic brush, this piece was painted completely with a relatively large Size 9 flat hog bristle. No preliminary underpainting or drawing was done either, rather I started blocking in with colour straight away on just a toned background, placing each block of colour as accurately as possible straight away and thus building the whole painting in this straightforward manner alone.
This piece was really a joy to create!.. :)
Loved the light reflections that this wine glass created on my olive green wall and decided to design the composition so as to have an almost abstract feel to it.
Painted alla prima and measuring just 2.5" x 3.5", this piece would make an ideal dinner table display piece :)
Using a very minimal pallet of light red, cadmium yellow, cobalt blue and raw umber, this piece was painted alla prima!..
Hi there, so this would be the first of a series I'll be painting with a magnifying glass. Called 'The Testy Text' (you probably get what I mean from the magnified text), it sets the tone for the next paintings in the series..
'The Testy Text' Alla Prima ACEO
Medium: Oil on Linenboard
Size: 3.5 x 2.5 Inches
Painted from life alla prima, a very minimalist pallet was used of Cad Yellow & Red, Phthalo Blue, Paynes Gray & of course Titanium White.
For the lettering I used a Sgraffito technique with a sharp black colour pencil.. Everything else was painted with two (000) rounds...
Thanks for the visit!.. :)
Hi there, painted mostly by pallet knife, attention was paid to creating a soft edged delicate feel to this soft beauty..
Oil on Canvasboard
Size: 6 x 3.8 Inches
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