Petals and Cream III

Setting the Scene: Necessity. . .

In continuation with the Petals and Cream series, a third and larger painting has been started in the studio.

First I found it necessary to figure a way to effectively hang fabric behind my still lifes. The more I paint in the studio, the more I realize what is needed for versatility and space management. The other day I devised a grouping of hooks and wire for such a purpose.

Getting Started: A Process of Work and Thought

After figuring the background and deciding on the still life arrangement, I began painting. Here you can see again, my usual rough estimate of object placements. At this point it is crucial that I establish the size of one main object, and draw the other objects in proportion and relation to that first object. This helps me to not only be sure that the objects are in a comfortable size so as to remain on the canvas and not come too close to the edge, but to also judge for pleasing composition.

This is only estimation and I refrain from creating a detailed drawing, for I will only cover it with paint directly upon completion. Also, I find that if I spend so much time on the drawing, when it comes time to paint, I rely too much on the drawing and it becomes a paint by number feel for me, and the painting becomes stiff and inaccurate.

Blocking In: Correct shape, value and edges with detail to come later

After the initial drawing, I locate the easiest shape of value and color to get correct. I chose the light side of this pitcher. Soon after establishing the values and colors of this pitcher I laid in some of the darks around it to be sure that my values were correct - color and value is, after all, relative to it's surrounding colors and values. Painting the cloth underneath the pitcher was also important as it was a different shade of white - it was good to see the contrast between both shades as they were on the canvas exactly as I was seeing with my eyes.

I began to block in the flowers, making sure that I was accurately placing the large shapes of light and shadow. I would concern myself with the details after the proper large shapes of value were established.

It was then necessary to work in the background to achieve correct edges around the flowers. Also the darks of the leaves and stems were added to be sure that the range of values was accurate.

Second Wave: Tightening up detail and contrast

After choosing certain flowers to receive detailed attention, I then went on to add lightly the pattern on the pitcher and begin moving left to add the second pitcher. Now that the flowers are completed I no longer have an uncomfortable sense of urgency.

Decisions in the Making: Tough choices on interpretation, vignettes, and the subject

As I continue painting, it’s becoming obvious to me that soon there will be some important calls to make regarding the completion of this painting. It appears that in the upper left corner I will have some empty space to contend with. I must decide if this will be an advantageous element, or if I should consider altering my subject slightly to ad more interest in this area.

After holding the frame up to the piece, I believe that adding one additional smaller white pitcher in the mix on the far left will be a good choice. This pitcher will be painted with much less detail thus commanding less attention to itself. However it will simply “be there”. I have also decided to render the last two pitchers with less detail to bring eye movement back to the pitcher holding the flowers. Perhaps we will discuss eye movement in a later blog at the completion of this painting.

Wrapping up:

final choices, corrections, and the big picture

After a few days of painting, it is apparent that I need to make some color adjustments. As you can see, the right side of the painting is warmer in color than the left. The right side has more yellow tones, where the left side appears more gray/blue.

There are a few factors here that work together to create this occurrence. The backdrop and pitcher on the right is in fact more cream/tan than the backdrop and pitchers on the left. Perhaps something I should have considered while setting up the objects. And so I learn. So in painting what I see, it is correct, however not the best look for the painting, I feel.

The other factor has become the time that I have chosen to paint. I believe that when I first started this painting, that I painted on sunny days during the warmer months. (confession time: this painting has been on my easel for quite a while). I was also painting earlier in the day. Both of these will create a warmer light in the room, since I’m using the sunlight from my window to light the still life.

Now I am painting the left portion of the painting during overcast winter days, and mostly in the afternoon after any hint of warm sun has passed my window. This will create a blue shade of light.

In the coming days I will make these changes:

Paint in the morning hours so as to reevaluate my color temperature.

I will complete the fifth pitcher and surrounding fabric.

I will also look for some flowers so I can add some color to the left side of the painting.

A Final Look:

time to lay the brushes down

I will start by sharing a deep dark secret with you. The flowers in the pitcher are not the same kind of flowers that are resting on the left. After painting the flowers on the right, much time went by, they perished, and more time passed before I realized that color would be needed somewhere on the left hand side. I found a handful of purple daisies which were the same shade as the original flowers and used them careful not to reveal too much exact detail. If I had painted exactly what I saw, (pulling the artistic license out of my wallet now) you would have easily seen that they were not nearly the same flower. I used both my painting and the flowers in front of me to simulate what I hope is a convincing addition to the painting.

Today I painted making sure that the elements on the left were not too far removed from warmth as they had been before. I also took the opportunity to bring down some of the warm saturation from the backdrop on the extreme right.

So here is your final look at the painting which will now be stretched, framed and available in the Art Gallery to anyone who would like to purchase it.

Thank you for reading my long continuing saga of Petals and Cream.

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