Saturday, November 8, 2008

The New Republic


Oil on linen canvas. 24" x 24"
I teach painting classes once a week in my Fort Lee studio. One of my students brought in this beautiful angel candelabra. A few treasures from the prop stash: rich Damask fabric; candles; a feather quill and small ink well; well-read book and souvenir box easily fell into place. Nos to easy was the task of painting that elusive cherub.

Challenged to get the relief decoration to "read" as three dimensional, I kept wiping it out and reworking to the point of frustration. What finally helped in the end, was a happy discovery that hints of silvery grey (north light effect) placed on top of bright yellow highlights (the presumed color of choice) gave the impression of a raised protrusion. What a relief!
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STILL LIFE TIPS: Design for Success

Excerpts from a 6-page article with step by-step demonstration, that appeared in the June, 2008 issue of The Artist's Magazine.

by Louise B. Hafesh

Try these pointers for setting up, composting and painting still lifes:

1. When setting up, strive for an assortment of compatible shapes that are varied in size and texture. If your props are too similar, they'll vie for viewer attention.

2. Create a sense of unity and harmony by overlapping several objects in your set up

3. Fruit is always a good subject because of its beautiful, natural shapes, rich colors and interesting textures.

4. Always photograph setups that include perishables such as fruit and flowers.

5. Take reference photos when you are working in natural light, in case the light changes.

6. Include various levels of interest by leading the view into  your canvas toward your focal point and then around and through your composition. 

7. Paint large masses loosely at the block-in stage. Then work toward the fined details. Avoid locking yourself into a tightly rendered drawing, which often leads to filling in the lines. 

8. Delight in your subject's form,color, inadequacies and uniqueness.  Learn to look at your subject with eyes, as if for the first time, and paint what you see.

9. Take breaks. Stand back to view your work, or if you find yourself mired down with details or losing enthusiasm, set the canvas aside for a few days and work on something else. When your return, you'll find it easier to spot areas that need adjustment. 

10. Look at your painting upside down or stand with your back to the painting and view your work through a mirror. these unfamiliar views will help you assess composition and color more objectively.