Lesson Number 8, Edmondson Course (Updated)

Update 9/8/12):  As always I sent Dan the picture below for a critique.  That's a regular part of Dan's course offerings.  Dan replied with some nice words as well as the observation that my 'grapes' on the right side of the painting looked more like cherries, which they DO!  It's funny, but I knew that, intended to fix it, but just plain forgot.  Anyway, Dan then asked if he could use my painting in one of his "tips of the week" features, which he sends out to students and uses in marketing his course.  In this tip he discusses how the eye can be lead into a painting, using mine to demonstrate the two techniques that could have been used in this particular setup.  During his tip of the week video he made several nice comments again about my painting.  As I mentioned before, when I finally finish the Still Life Course, I plan to do an extensive review of the Dan Edmondson DVD course.  For now, I'll just say Thanks Dan!


As I near the end of the Daniel Edmondson Still Life painting course, I realize how much I've learned and how valuable the information Dan has shared has been.  I've already done the final lesson #10, but I'm holding it back until I complete Lesson #9.  At that point, I'll be done.  I'll be sorry to see it end.

I originally painted Lesson #8 in a smaller format (9 x 12) but I felt that it would be more effective if it was larger.  Dan also recommended a larger size when he ran into a bit of trouble in his 8 x 10.  There's a lot going on in this painting that is difficult to capture well in a smaller format...at least for me, and apparently for Dan as well.  This weekend I tackled a 12 x 16 version and this is the result.

Asian Vase with Oranges and Berries   12" x 16" Oil on canvas panel.

As I did this painting, I was using Dan's photo reference of course, and I had his DVD playing on my computer as I painted.  However, I found myself beginning to do things my own way.  I think that's a sign that the processes that Dan uses are becoming familiar to me, allowing me to interpret and modify them as it suits me.  I also used flat synthetic brushes for most of this painting except for the block in of the vase and the foreground cloth.  From that point, I remembered Fongwei's almost exclusive use of flats and I dug out some synthetics I had...and a couple that I had purchased at Utrecht following the Fongwei workshop.  I loved them and virtually everything in this painting was done entirely or completed with one of three flat brush sizes.  I can say for sure I'll be using them a LOT more.  Thanks to Dan and to Fongwei for this painting adventure.  

Workshop with Fongwei Liu - Day two and three

On the second day of the Fongwei Liu workshop, we adjourned to Miller park to paint.  I have to admit that this was a major disappointment for me.  I'm familiar with Miller Park and find nothing of interest to paint there.  I understand that a good artist should be able to find - or create - subject matter anywhere, but I'm afraid I'm not one of them yet.  I need to feel inspired and excited by my subject matter, and Miller Park leaves me cold.  I think even Fongwei had a difficult time finding something to paint, as he wandered up and down the narrow parkway for sometime before climbing down a steep bank to find a spot by the water.  He did manage to find a simple scene with some early morning light coming through the foliage and, as one might expect from a painter of his caliber, managed a decent plein air painting.  I struggled, tried in vain to make a clump of trees interesting and finally gave up.   I wiped the canvas down...those panels are too expensive to waste on a yet another bad plein air effort.

In the afternoon, we returned to the studio for a lecture on the essentials of a good painting.  Fongwei used examples of his own work and also that of many other impressive artists.  I wish I could have gotten the names of some of them...I would have like to see more examples.  I enjoyed the presentation...and once again, I found his comments and advice helpful and memorable.  But I have to say, the day was largely a loss for me and I left a little early feeling pretty discouraged.  Most of that had to do with my own short comings and the crisis of confidence I have found myself in lately and not in the workshop proper.

On Sunday we went to Capitol Park in the morning.  I felt much better about this location as there are almost endless things to inspire an artist there.  I resolved to keep it simple in light of the very depressing experience of the day before.   I set up and painted by the fountain in the Rose Garden.  It was a beautiful day.  I discussed my idea for my painting with Fongwei and he approved my location and idea before I started.  He also suggested some changes to my approach before I had picked up a brush.  One of the things he stresses in his workshop is to have an idea, a plan, a concept of what you want to accomplish and how you will go about it.  This can be simple and broadly conceptualized, but it is critical.  It was morning and the light on the fountain and the roses was beautiful  Determined not to get into licking and messing and guessing again, I pulled out the 1 1/2" brush and laid in the background ad the major components of the fountain in simple strokes.  I was determined not to overwork and I forced myself to leave the strokes as they 'fell'.   I was very pleased with this simple painting and the feeling of the light that I caught. One interesting thing occurs to me as I look at this painting now.  As I discussed my concept with Fongwei before beginning, he pointed out that the two rose bushes framing the fountain could be somewhat static if not handled right.  He cautioned me not to make both bushes the same height even though they actually were...and he suggested exaggerating one.  I see now that I completely forgot that advice!  Oh well.  Next time.

Roses in Capitol Park  12" x 9"  Oil on canvas panel

Finally, back in the studio, I painted this colorful landscape from a photo reference I had on hand.  If I remember right it came from a Wetcanvas challenge in the Western Art forum.  Most of the references I have are my own photos, but I do have a few from Wetcanvas.  It's a good source for material and everything posted by members is done so with the condition that it be available to others to use.  No copyright problems.  I think I will work on this one a bit more. 

Aspens in the Fall   12 x 9 oil on canvas panel. 

With that, it was time to go home.  I said good bye to Fongwei Liu.  It was an honor to be able to listen and learn from this fine painter.  I will remember his gentle and scholarly approach.  I think my work will be a little better from the experience. 

Workshop with Fongwei Liu

Oak Park artist and gallery owner Patris arranged for Fongwei Liu to conduct a three day workshop at her studio.   I was excited to sign up...Fongwei is one of those Chinese painters who so intrigue me.  I've been following his blog for some time, so I couldn't miss the opportunity to meet him and benefit from his experience and skill.

We spend the first day in the Studio.  Fongwei gave a  lecture on the components of a painting....composition, value, edges, paint application.  After that we painted from photo references we brought from home.

Fongwei Liu (white shirt) at Patris Studio August 2012

My painting for the day was from a photo I took while in New Mexico several years ago.  It's 12 x 16 on a Raymar panel.  Time about 3 hours.  Early on in this painting, I felt I had lost it, but with some suggestions from Fongwei, I think I brought it back.  While I worked on this I was very conscious of composition and value.  There are parts of this painting that would benefit from additional work, which I may yet do.   Overall, however,  I was pleased with the outcome.

New Mexico ranch house 12 x 16 oil on canvas panel. 

I'll post additional paintings done at the workshop over the next day or two.

Lesson 7 Blossoms and Apples *Updated"

As you know if you've been reading my recent posts, I've been taking a DVD still life painting course from Dan Edmondson.  I've really had a good time, and in the process I've learned a number of new techniques for handling paint, color and texture.

This is lesson 7.  I decided to go a bit bigger once again.  The first five lessons were all done on 9 x 12 canvas panel, but this lesson and the previous one (Daisys) are done on 16 x 20 canvas stretched.  I added two coats of gesso to the already gessoed canvas to get it smoother.  I've grown used to that now I find the very absorbent, rough surface of ready made canvas unsuitable, at least for studio work.

This picture has a bit more green tint to it than the original, where the main blossoms in the light are almost white.  I have a little more to to...particularly on the apple slices and on the shadows in the painting.  Perhaps the foreground needs some work too.  I'll give it a day or two before deciding.

Friday I head off to paint in the mountains with friends, Ruth Andre, Howard Rees, Vickie Chew, and Julie Trail....good artists all.  It should be fun!!

Blossoms and Apples  Oil on 16" x 20" canvas

Updated. July 7, 2012:  Today I worked on Blossoms and Apples for another hour or so.  My primary focus was to improve and finish the apples and to lighten the foreground.  I think both have been done successfully.  The green apples now seem to have form and the color is much better.  The table cloth was much too green.  I lightened it with yellow ochre and then added a suggestion of a pattern.  I like the result.  Finally, I worked on a few other details, including shadows.  Overall, I'm pleased with the painting now.  I'll call it done.

Yellow Daisys

Another still life today.  I love the colors in this one. Again it was done with no OMS at all.  The medium was a premixed combination of Damar varnish, turp and stand oil.  From W&N I think.  It works fine, but I think I like the walnut oil better.  The premixed medium is very thin and it seems like it encourages the painter to use a lot of it.  The Walnut Oil, being thicker and heavier, feels better when applied a little at a time.

The background was put on with an inexpensive 1 1/2" brush Using transparent red oxide with a little olive green and in the darker passages, a touch of black.  Very easy and fast.  The transparent colors let the white of the smooth canvas glow through.  I think it's pretty effective.

Daisys  Oil on 20" x 16" canvas

Lesson 5 - Pear in a Martini Glass

Lesson 5 from Dan Edmondson was a fun one.  Very straight forward and it went quickly.  About two hours to complete and fun to do.  This one followed the process of the earlier ones with a simpler subject matter.  First the background was laid it, then the area where the pear would go was rubbed out to remove the background paint.  After the pear was blocked in, the martini glass was suggested with a minimum number of strokes.  Finally the grapes were added and the painting was done.

Pear in Martini Glass.  Oil on 9" x 12" canvas panel

A Little Painting of Pansies

Well, lesson 4 is done....or at least done for today.  This simple little painting was surprisingly difficult.  First, I've never done flowers...at least in still life...so that was a challenge.  And then, I didn't really like the arrangement.  I didn't feel any excitement or energy and I think the finished painting reflects that: it's dull and flat.  Once again, there were many lessons learned here, some of them hard won.  In the end, I've glad it's over and I'm ready to move on.

Pansies   9" x 12" Oil on canvas panel

UPDATE:  I worked on this little painting again.  I'm still not satisfied, but I think it is somewhat improved.  Oh well, time to move on!

Lesson 3 Beautiful Watermelons!

I hope you'll bear with me as I post these lessons.  I'd love to get some original paintings posted soon, but I've been enjoying Dan Edmondson's painting course so much and my painting time is limited during the week.

For Lesson #3, Dan sent a gorgeous photo of delicious looking bright red watermelon against a black background.  Talk about a show stopper!  It was a relatively difficult assignment, although Dan's guidance helped a lot.  Once again, I tried for very pure, intense color.  I concentrated on using lots of paint with each brush stroke and painting with confidence.  I literally did not take the cover off of my OMS canister...and the only medium I used was walnut oil.  I'm beginning to get the knack of this approach.  It does seem to require more brushes, however, because it is easiest to try to use a single brush for light colors and another for dark...and in some cases, a single brush for certain colors.  Since the brushes are only wiped clean - not rinsed in OMS - this helps keep the colors clean.   For the most part, I feel like it worked.  There are some areas that I may come back to today...or perhaps when the paint has set a bit.

Lesson #3 Watermelon   9" x 12" oil on canvas panel (with 2 extra coats of acrylic gesso)

Another energizing lesson.  This is so much fun and so educational at the same time!

UPDATE:  I spent a little more time on the shadows under the plums, the cast shadows on the two sections of watermelon and on trying to get the grape colors more accurate.  I think it improved the result.  The picture above is with those changes made.  (6.4.12)

Online Painting Lessons?!

I've been disappointed with my paintings lately.  I feel like I am stuck repeating the same mistakes over and over....sometimes, I'm sure, not even realizing it.   As a 'self-taught" artist, I still struggle with basic technical issues.  It's a bit like trying to play a piano with missing keys.  I'm trying to commit to a more concentrated study effort using my own library and the internet where possible.   And I'd like to take more workshops from accomplished artists who are willing to share their own knowledge and personal artistic journeys.  And of course, there will always be a need for continuing "brush mileage" as my artist friend (and workshop teacher) Howard Rees says, but practice can either reinforce bad habits or build and strengthen new and correct ones.

Recently I found a website by Dan Edmondson featuring his online painting course.  I was actually looking for information about how to keep paintings from coming out 'dirty'.  Dan had a nice little video on youtube about that subject and that led to his website.  I have some doubts about online 'correspondence' course art lessons, but I liked Dan's very practical advice.  Although much if it is geared for beginners, I found a number of practical ideas for better painting habits and ... hopefully...results.

This isn't an endorsement of Dan's video course, but only a record of my artistic journey.  When I've gotten through all 10 lessons, I will give you my opinion, however.  Meanwhile, I did lesson #1 today.

Lesson #1  9 x 12 Oil on canvas panel

The setup and the step by step process is provided by Dan, so I claim no credit for the painting.  I felt I learned several things today, however.  The primary lesson is that this painting contains almost NO medium.  There is some walnut oil used in the background, and a bit here and there in specific parts, but for the most part, this is paint straight from the tube.  A giant change for me!  Doing the painting without medium meant a whole new technique with brushes.  It suddenly became about brush 'pressure' and brush stroke.  It took some concentration and experimentation, but I think I began to get it as the painting went along.  Dan provided the tips, but learning them was not particularly easy.  One other thing that I did differently...I never took the lid off my container of OMS!  Normally, I rinse my brush after every passage in OMS...and I use it as a medium as well, reducing everything to a soup..a muddy soup.  This was sure different.  Without OMS to clean my brushes (but not really cleaning them) I just wiped them between strokes and colors.  A new technique that will take some practice, but it seemed to work.

It was fun following Dan Edmondson's lesson #1...and a learning experience too.  I look forward to lesson #2.