Qiang Huang Workshop - Day Two

We started our second day of the Qiang Huang workshop bright and early on Tuesday.  Many of the participants were in place and working on their still life paintings from the day before well ahead of the official starting hour.

One the second day, Qiang again started a demonstration, but this time he had everyone return to their own paintings after each step in the process.  We set up a new still life arrangement for the day.  Honestly I didn't feel comfortable with this arrangement.   In particular I didn't like the lone flower and the foreground seemed a bit scattered to me.   I know a better painter would have made these 'shortcomings' work, but I struggled.  It might have been also that I felt a bit of a come down after the first exciting day of meeting Qiang and finally getting started.   Whatever the case, I was out of rhythm all day. It seemed I forgot everything I already knew and everything I had learned the day before. 

Once again, there were many really beautiful paintings done by classmates.  I was impressed as I struggled along with my own battle.  Qiang's instructions and guidance were as solid as the day before and he gave me suggestions that helped pull my painting out of the abyss even if it came up a bit short in the end.  When I got home I felt mentally and physically exhausted, but I couldn't wait for the next day to begin.

My painting for Day Two.   I have done a little bit of work - on the flower in particular - in the studio but because I didn't have a good photo of the set up, I was unable to do much. However, as I look at it now, it doesn't seem as lost as I had originally thought. 

Red Flower, Orange and Apple   Oil on panel (Ampersand)  9 x 12 

My Art Site: Bruce Hancock Fine Art

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