The first 3 are 30 minute cobbled still lifes. This is where you just sit in a room and pick 3 to 5 objects and just imagine a still life then draw it and paint it. It was recommended that I use water soluble pens. I’ve been using a Tombow lately but it puts down lines that are too thick for my liking with this exercise. I used it quite a bit in my last building paintings. So I used a Universal One and a Snowman. The Snowman has a thicker line. These are painted in my 5 X 7 sketchbooks on 140# coldpress.
Here I’m sitting in the kitchen using a Snowman pen
Sitting in the living room using a Universal One.
Objects from the dining room.
We have a friend in Mississippi who is a potter. He took a picture of his kiln when he was firing pottery and I thought it would make a good subject for a Yupo painting. I have a 9 X 12 tablet of synthetic paper that’s not yupo but acts like Yupo and is cheaper. It’s harder to take it all the way back to pure white which makes it hard to get what I wanted but I thought it was interesting.
That kiln shot is promising! I love the warm colors; you can really feel the heat already. Is it finished? The cobbled still life sketches are intriguing. I like the line with wash. Out of curiosity, though, I want to be clear how this works. If you're in the room and the objects are also there, wouldn't you get a better sense of light and space if you just assembled the still life and painted directly? What is the advantage of imagining the still life?
ReplyDeleteYou don’t have to move and you have to use your imagination. There are no rules. The process is the important thing not the result.
DeleteThe middle one is most intriguing because of the variety of shapes. The challenge for me in painting still life’s is defining the shapes with values, but the outlines add an interesting component here.The kiln painting needs more variety of values to define the shapes. It especially needs more darks!
ReplyDelete