Isn't it lovely to finish a painting!
I have to admit I do love those days when I complete a painting. This is one of those days. I had a wonderful visit to Cotto, in Tuscany a couple of years ago and on a very wet day when we could not paint outside, I arranged a still life on a bookshelf and painted in in watercolours,, intended as a preliminary sketch for a future oil painting I'm only getting around to finishing now. I have a good excuse for the delay, an MA Fine Art at Cambridge School of Art took up all my creative energies, but is now finished and I have a list of such paintings to complete over the winter months.
Cotto Lemons and Teapot, 2016, Oils on Linen Canvas.
Painting it brought back so many memories of our lovely time in Cotto with artist Bettina Schroeder, who runs wonderful art holiday courses, check her out at http://www.art-holidays.com/Destinations/Cotto_in_Tuscany.aspx. I'm booked to go with her in 2017 to the Algarve, which I'm looking forward to very much.
It is quite wonderful to realise that with every painting I learn so much. You might say well I had lots of time to learn on this one, but I do find time is an important element of learning to paint. We need to leave time for our actions on one session of a painting to develop in our brain and to return to the painting with these thoughts developed and a fresh pair of eyes...it's amazing what yo can see in the first seconds of viewing a painting afresh.
Cotto Lemons and Teapot, 2015, Watercolour sketch.
Making a preliminary watercolour sketch 'writes' the image to my brain and I noted useful information for the painting. There is nothing like drawing or sketching to help understand the forms and colours of a still life. Well done, you have noticed I added an extra lemon! I felt the composition needed another element to the left so added the extra one. Sketches are wonderful but I's be lying if I said I didn't take a photo too! But we see things differently to a camera and our way of seeing form gives far more depth to a painting, than working entirely from a photo. the photo is a great reference though and I wouldn't be without them as aids,.
I use Michael Hardin paints exclusively.....because every artist deserves the best. My palette includes Payne's Grey, Transparent Red Oxide, Yellow Ochre, Yellow Lake, Cremnitz White (for mixing), Titanium White for highlights, and Rose Madder. I like very much to confine myself to a few colours, but when I need a good vibrant colour, for example for the lemons here, I add that Yellow Lake). I am constantly amazed just how many colours can be mixed from a confined palette. Do try it....bet you will be too!
Now what' next? Ah yes I know. - Corbino Oleanders in sunshine.
