A Painting Critique “Aquarius”

I’ve been doing a series of stilllife paintings¬†featuring clear water in clear vessels, thought I’d have some fun with it so I chose this subject.

I usually like to start off with a drawing, why?duck-draw

  • I can explore the subject in a simpler form, no color, no paint.
  • Helps to organize the values and see where “pushing them around” could benefit the painting.
  • Helps to imagine how I may want to exaggerate or suppress some things to make a stronger statement

Ducks-before

After about 4 hours I was at this point, 90% finished. This is a good time to get away for at least 8 hours in order to get a fresh eye on the scene.

O.K., this is when I put away the reference and go in for what I call “last looks”.

1. The color of the ducks is too cold, remember, even if this is the actual color that was in the reference, your responsibility is not to record it, but to make it what will be the aesthetic best choice. It’s also hard to see the one duck in front of the other. So…

  • Warm up the color, dull the back duck by add a small amount of background color to it.

2.The table appears too flat and disconnected to the ducks……

  • Add yellow to the table where the light hits it most (lower right corner), making it diminish as it goes to the shadows.

3. The highlight on the upper left bowl is confusing, highlight on lower left of bowl too bland. Both of these add activity to an already active area…..

  • Eliminate upper and lower highlight, try it on the left instead (where it could use some interest).

4. Yellow in ducks seems isolated, would like to see more of it in the scene…..

  • Work some yellow into the background.

5. Towel texture could be played up more…..

  • Soften the towel edge as it overlaps the bowl on lower left, as well as the far right edges against the table.

6. Edge of bowl on right and left not symmetrical…..

  • Look at it in a mirror, upside down, whatever it takes to see how I need to correct this.

Compare the before and after images of the painting below-

two-ducksducks-after

After a coat of Liquin and another hour I was able to vastly improve this image.

Next painting, take an extra hour or so to see how far you can take it!

Workshop’s Over Now What

It’s been a week since I finished the Sunny Apinchapong workshop and I am still hearing his words as I paint, which is a good thing.

Sometimes coming away from a workshop can leave me with a let down feeling, like that was exciting and stimulating but now I’m on my own.

White flowers in a Vase, by Diane Eugster
White flowers in a Vase, by Diane Eugster

Sunny gave me so much to work on, here are a few of his mantras:

  1. Mass in with a big brush, you’re not ready to start the painting, keep roughing in those large shapes!
  2. Compare, compare, compare, is that lighter or darker than that passage over there? Look, look, look
  3. Trust yourself, don’t think too much, just get it down!
  4. Is that area really that orange, it’s orangish, not orange!
  5. Check your edges, if two dark object meet with a soft line in the shadow, join them together as one!

The still-life above was a challenge, at first all the white flowers looked very similar, but I searched for the small differences in color and found them, I compared the shape of this one to that one and saw the differences. I knocked back the colors when they were not subtle enough.

Pitch and a Basket, by Diane Eugster
Pitch and a Basket, by Diane Eugster

The same applied to the still-life above, in order to paint better I need to see better. Detail is not what I’m looking for but ways to translate the complications of the really world into paint.