The Blue Vase - Continuing Still Life Exploration

 Still Life painting continues to intrigue me.  I've mentioned before that I enjoy painting still life subjects in the studio as a kind of therapy.  There's something very healing about the process.  One is painting from life, but without the pressures of working from a model or the challenges (should I say aggravations?) of plein air painting. With internet radio in the background and Dixie asleep on her pillow by the transparent plastic doggie door (so she can keep one eye out for squirrels who may have the audacity to venture into HER backyard), the studio is a wonderfully peaceful place. 

But more and more I appreciate still life painting as a chance to explore painting techniques and to simply practice what I learn in workshops and other studies.  Sometimes, I learn what NOT to do, which, if it is absorbed and remembered, is every bit as valuable as learning what to TO do.  As an example of this last point, I just completed a workshop conducted by a very accomplished painter who teaches and practices a 'classical' approach using old master techniques, colors, mediums and etc. (More on the workshop in another post.) Using what I had learned, I attempted to complete this still life and in particular the vase.  It was a disaster to such an extent that yesterday I spent about two hours completely over-painting and then re-painting the entire vase.  I did one other thing, I scraped burnt umber and raw umber from my palette forever.  I know that they are essential colors of the old masters, but apparently they knew how to use them and I don't.  And simply put, they are incredibly UGLY!   (And according to some experts found on the internet, one or both have some bad chemical properties from an archival point of view.  You can google it.)

In this painting I wanted a contrast of textures.  Against the smooth and reflective surface of the blue vase and the red apple, I tried very hard to create texture in the oranges and the table top by putting the paint down heavily and leaving it.  I think it was successful.

The Blue Vase    12" x 12" Oil on linen panel

My Art Site: Bruce Hancock Fine Art

"Late Afternoon in the Garden" Still Life in Oil

The shade is deep under the trellis on this late summer afternoon. 

Late Afternoon in the Garden    12" x 12" Oil on Linen Panel  

To purchase this original oil painting, CLICK HERE

My Art Site: Bruce Hancock Fine Art

"Copper Kettle" oil painting is FASO Staff Pick!

 I am pleased to post this news!  My latest still life painting (as of July 28th) was selected by by art critic Brian Sherwin as a "Staff Pick" from all artwork recently submitted to the Fine Art Studio Online (FASO) website.  It's certainly gratifying to have my work noticed in this way and to be included in the company of two very fine fellow artists, whose work is included in the article below.  I thank Mr. Sherwin and the FASO Staff members.

My humble little copper kettle, recently purchased at the antique / thrift store only last week, is now famous!   Who wudda thunk it??

( if you are interested in purchasing the Copper Kettle in a beautiful frame, CLICK HERE )

Staff Picks from the FASO Daily Art Show: Bruce Hancock, Amanda Fish, Mark Farina

by FineArtViews on 7/28/2015 9:55:40 AM

This article points to recent artwork featured on the FASO Daily Art Show.  Our popular newsletter, FineArtViews is sent daily to more than 34,166 people. Our other newsletters, BrushBuzz reaches 3,555 and InformedCollector reaches more than 10,371. FASO artists who upload artwork each day are featured in these newsletters the following day. If you already have a FASO website (even if it is a trial version), you're set, just upload your art as usual, we'll pick one to display and link to your portfolio in our newsletters. The following artists were selected for Staff Picks -- a FineArtViews blog series -- by FASO staff members after viewing recent editions of the FASO Daily Art Show on the newsletters mentioned above.

For this round of Staff Picks we had art critic Brian Sherwin (Editor of The Art Edge) select artwork that has been featured on the FASO Daily Art Show. We at FineArtViews encourage you to learn more about the following artists: Bruce Hancock, Amanda Fish, Mark Farina

Copper Kettle with Oranges and Strawberries by artist Bruce Hancock - selected by Brian Sherwin

(Oil on Canvas Panel)

Artist Bruce Hancock strives to capture the people, places, color and culture of America in oil. He captures the energy of a scene by utilizing bold marks and color. The expressive nature of his work documents a moment caught in time. Bruce notes that he is devoted to the study and practice of the art of painting. 

Fruit on Satin by artist Amanda Fish - selected by Brian Sherwin

(Oil on Hardboard)

Artist Amanda Fish has explored several directions in her art studio. However, she describes still life painting as her artistic calling. Amanda strives to capture the essence of traditional still life painting -- while at the same time upholding a fresh, painterly feel and application. Her dazzling collection is a joy to observe. 

Pears & Crock by artist Mark Farina - selected by Brian Sherwin

(Oil on Linen on Board)

Artist Mark Farina creates beautifully rendered paintings. Mark has explored numerous subjects in his studio. His still life paintings capture a sense of magic and reverence. The viewer is invited to observe extraordinary moments in these seemingly ordinary scenes.

My Art Site: Bruce Hancock Fine Art

Tools of the Trade - Still Life in Oil

I guess painting a vase full of paint brushes is more or less required at some point.  In my case, it happened because I got the urge to paint about 8 pm.   I didn't want to spend a lot of time gathering flowers and props, so I reached for what was in the studio.   In this case, I found a bottle of walnut oil, some W&N linseed oil, a small brown vase and some brushes. 

I used a linen panel that I had prepared some time back with a tone of burnt umber, I think.  When I applied the tone I experimented with adding some texture with a crumpled paper towel.  Generally, most of this would be hidden, even in a vignette style painting, but in this case I let it become the background.  I'm still undecided about whether it worked or not, but this was a quick sketch...something to have fun with on a Thursday evening....so I'll leave it as is.  I tried not to get fussy with this one.  When I started messing around with the brush shadows, I knew it was time to quit.  It was a pleasant two hours of painting.

Tools of the Trade   Oil on linen panel   12" x 12"

My Art Site: Bruce Hancock Fine Art

Wine Bottle with Pears - Still Life Oil

Still life painting still intrigues me.  I'm finding that the more I paint from "life", the more the prospect of painting from photographs seems to be lacking.  The reality is, of course, that for practical reasons, painting from photos is almost unavoidable for most of us. Access to models whenever we want to paint a portrait or a figure just isn't possible and plein air painting opportunities are not as frequent as we might like.  Still life painting represents "instant" opportunities for painting from life almost anytime the urge strikes. And the added benefit is that I get to create the composition before I set a brush to canvas - and that's  a lesson in itself.

I completed this still life about two weeks ago, but I've been undecided about it.  After looking at it for some time, I lightened the table top a little and called it done. 

Wine Bottle with Pears and Grapes   Oil on stretched canvas  12 x 16

To Purchase this painting, click HERE

My Art Site: Bruce Hancock Fine Art

White Pitcher with Flowers - Still Life Oil Painting

This is another high key still life.  These brighter paintings are still a learning process for me, but I do enjoy the opportunity for playing with the light and color.

White Pitcher with Flowers    Oil on 9 x 12 linen panel

To Purchase this painting, please click HERE


My Art Site: Bruce Hancock Fine Art

Black Label and Roses - A Still Life Oil Painting (Sold)

I'm painting small still life as frequently as possible for awhile.  They are relatively quick to do...2 to 4 hours at the most and it's excellent practice.  This one was painted this morning and early afternoon.  I'm following the Qiang Huang process as much as I can.

Black Label and Roses    Oil on linen panel   9 x 12

(Sold)
My Art Site: Bruce Hancock Fine Art

Qiang Huang Workshop - Day One

Last August, when I saw that Patris, owner of Patris Studio and Gallery in Oak Park, Sacramento had managed to sign up Qaing Huang for a workshop in March of the next year, I signed up immediately.  I've followed Qiang's blog for several years and in that time I not only found a painter to admire and emulate, but a very extraordinary individual whose writings on his blog reveal a special soul...artistic and otherwise.  You can follow Qaing Huang (pronounced Chong Wong, by the way) here if you aren't doing so already.  You are in for a treat.
http://qiang-huang.blogspot.com/
And you can find more about Patris and her active and energetic studio and gallery here:
http://patrisstudiogallery.blogspot.com/

It was a wonderful three days full of art, laughter, learning and atching a fine artist at work.  Qiang demonstrated a complete still life painting everyday, and I never tired of watching and listening to him explain and teach.

Day One:
After introducing himself and his wife Song, Qiang spent the morning instructing us on his five step process for still life painting. With his engineering background (he is a doctor of optical physics!), he has naturally spent some time breaking down and studying the art process and he has developed an easy to remember and follow road map for still life, and I suspect, any other subject matter.  It's too involved to explain here....not to mention that it's HIS process....but during his demonstration on the first day, he literally showed us each and every step from accurate placement of objects to establishing values and final modeling and refinement.

I followed his demonstration in the afternoon with my own effort.  Patris had established enough 'stations' that we each could set up our own still life subject with only one other painting partner.  I found that the process Qiang taught and demonstrated was a very natural progression.   Some of it I had already been doing thanks to the outstanding online instruction I received from Dan Edmondson.  Taking that background from Dan and adding Qiang's own processes and insights felt comfortable.   I don't mean to say it was easy or that I had instant success....far from it!  But it all made sense and was easy to follow the concept.

This is my still life from day one....

Green Wine Bottle with Oranges  12" x 9" Oil on RayMar canvas panel 

At the end of the day, I felt tired and elated at the same time.   What a special day it was!  Thanks Qiang and Patris!

 More on the workshop will follow in the next day or so. 

(Painting is SOLD. )

My Art Site: Bruce Hancock Fine Art

Squinting at Sunflowers

This simple still life was painted in a 2 1/2 hour session at a recent workshop.  The goal was to establish the basic shapes of the subject with minimal brushwork and detail, using value and edges instead.  The subject matter did not have a lot of color other than the yellow and muted green of the sunflowers.  Squinting was the order of the day. 

Squinting - now there's an interesting painter's tool.  After years and years or reading and hearing about squinting, I'm finally beginning to get it.  In the still life below, squinting helped me see the three basic shapes in the subject: the can, the group of foreground flowers that swoop up and to the left and the arc of background flowers.  Not only were the shapes apparent by squinting, but I could see quickly where they belonged...foreground, middle ground or background.  And I was able to paint them that way.  During a recent plein air session, which took place after I painted this still life, I deliberately and consistently squinted at the subject.  The result was one of my more successful plein air sketches. 

Squinting simplifies the subject, and shows you what's important...what  detail is important and what isn't.  In plein air situations in particular, squinting allows you to see light and dark patterns quickly.  And when you can see shapes and light and dark in simplified form, you can see the bones of your subject and the 'plan' for your painting.  And when you see that, you can see ways to alter or arrange them if needed to suit your composition.  For instance, the grouping of the flowers in this still life was not actually what you see in the painting.  The arrangement in the painting is the result of conscious decisions on what to leave out and what to add or just plain make up in order to build a design.  You are freed from the subject in front of you   

I can't wait for the next opportunity to "squint"! 

Sunflowers  Oil on canvas panel  16 x 12

My Art Site: Bruce Hancock Fine Art

White Vase and Peonies - Still Life

Still life paintings are usually a chance to "let go" with color.  It's one of the reasons I find them so invigorating to paint.  Yesterday's still life was quite the opposite: a lesson in restraint.  The white vase and white flowers made this painting all about values.

White Vase and Peonies   Oil on canvas  12 x 16

This original oil painting is available at
My Art Site: Bruce Hancock Fine Art

Yellow Roses and Pink Flowers - Still Life

I'm beginning to think of still life painting as a sort of therapy.  When I'm totally frustrated and at a loss with whatever painting I'm currently working on...or even if I just need a break...still life seems just what the doctor ordered.  This still life served just such a therapeutic purpose.  I'm currently working on two involved paintings, one a figure in a complicated costume and the other a large landscape.  Neither seems to be going particularly well at the moment.  It was time for a break from the struggle. 

Last weekend I wandered into the garden, clipped some yellow roses and some pink flowers. (I don't know what the pink flowers are...but the "bush" they are growing on is the size of a small to medium tree.  I don't cut it as I probably should because it provides some much needed shade on the small patio adjoining my studio.)   I haven't used this particular vase before so I put the flowers in and around it, draped a white towel over my cardboard still life "stage" and away I went. 

I have about four hours in this 16" x 12" painting.    I'd like to do a bit more study on still life painting and in particular, learn more about painting flowers, but until I do I find these simple setups a lot of fun to do.  There's something pretty freeing about still life...and those wonderful colors are just great to dive into! 

Yellow Roses with Pink Flowers   Oil on canvas  16 x 12"

My Art Site: Bruce Hancock Fine Art

Rose in a Coke Bottle - Still Life

More roses!  Today was a hot Sunday afternoon.  But I'm not complaining: it was a perfect California Summer Day!  About 3 PM I'd finished all the chores to prepare for the week and I had the urge to paint.  I knew I wouldn't have much time, so I decided to do another simple still life.

My granddaughter Lily had left a coke bottle on the table on the backyard deck and it caught my eye.  I pruned a couple of roses from the garden and set up this simple still life.  The yellow roses quickly wilted because they weren't in water, and by the end of the painting, they were flat and shapeless...and that's my excuse for why mine look flat and shapeless in the painting!  I really need to spend some time learning to paint roses!

This painting is done on Ampersand Gessobord.  It's a very slick surface and I like it quite a bit.  It takes some getting used to...and I'm not totally there yet...but the colors stay on the surface nicely.  I have about 1 1/2 hours in this small study.  When it sets a bit, I'm going to have another go at the roses, I think.

Roses and Coke Bottle    12" x 9" Oil on Gessobord  

My Art Site: Bruce Hancock Fine Art

A Still Life - Pears and Grapes

Last Sunday I began this still life.  I decided to do an elongated format; in this case 10" x 20".  I had some rolled preprimed canvas which I had added an extra coat of Gamblin painting ground.  I was anxious to try out the surface prep so I bought some stretcher bars from Utrecht and stretched a canvas just for this painting.

In passing, I should mention that the Utrecht bars were very unsatisfactory.  I don't recall purchasing them from Utrecht before, perhaps I have at some time in the past, but I won't be doing so again in the future....at least, not without checking the assembly in the store before purchase.  At least two of the bars had warps (twist) which caused a mismatch at the corners.  They still mated fine - that is the slots went together as they should -but they were not in alignment.  As a result, there was a corresponding protrusion at each corner.  If I had not been in such a rush to get painting, I would have taken them back.  But I went ahead and used them.  Hope they don't cause trouble when the picture is framed.  I'm a fan of Utrecht oil paint, and Utrecht brushes have been good, but these stretcher bars were inferior quality.

Anyway, I worked on this painting for about 12 - 14 hours over several evening and weekend sessions.  I wanted to refine it a bit more than I normally do, but also keep the brush strokes and paint thickness interesting.  Most of the paints are Rembrandt,with Transparent Oxide Red, Olive Green, Ultramarine Blue, and Lemon Yellow being the predominant colors used.  The canvas surface was wonderful.  The roll was a fine weave cotton...from Fredrix, I think...and the extra coat of oil ground made it even smoother and much less absorbent.  It was a delight to paint on.  My medium was walnut oil.  I used almost no OMS for anything, including brush cleaning.  I love the consistency and the sheen of the walnut oil, but beware, it is very slow to dry.

Pears and Grapes  Oil on Stretched Canvas  10" x 20" 

Lilacs - Still Life

I continue to study still life painting through Dan Edmondson's online course.  I love the rich darks and beautiful colors in these paintings.  This one is on an 18" x 18" stretched canvas.  Medium is walnut oil.  Colors are predominately Rembrandt, with a Permanent Purple by Gamblin added to the regular palette that was a big help with the lilac color. 

Lilacs   18" x 18" oil on canvas

Rainy Day in the Studio

I had previously started this small painting on one of those days when inspiration and motivation were both on holiday.  I just found a photo and forced myself to start.  I worked on it for about 1 1/2 hours and then left it unfinished.  Today the rain was pouring down so I went out to the Studio to putter.  This painting was still sitting there, so I mixed up a few colors and spent about an hour finishing it up.

Silver Teapot  9" x 12" oil on canvas panel. 

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.  

Back to the Still Life Lessons

Another of the still life lessons from Dan Edmundson.  This actually happens to be the 10th and final lesson, but I have not yet done number 9.  I'll get to that this weekend, perhaps.  Then it's on to the landscape lessons.  There's a lot of glare on this picture.  I need to get a better one, but for now this will suffice.  I like the chiaroscuro effect of the painting.  A difficult effect to paint.  A series of glazes would probably greatly improve this painting.  Another fun one, but challenging too.  

Flowers, Vase and Grapes  16" x 12" oil on canvas panel

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