Acorn Squash


Here is a new still life...

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Color Wheel/Color Theory

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Last year I was able to work on doing a color wheel with Carlos Madrid. Carlos studied color theory with Michael Aviano for a few years. He had me come to his studio and work with him once a week over a 3 month span. I started by creating a value scale, based off of the Munsell Color System. From there I worked to get the color as accurate as I could, and worked mixing the lightest colors to the darkest colors. The end result of my color wheel represents the highest chroma of each color. After working the highest chroma, I then went and created a value string of each color, using my value scale. In the end I have a very valuable color wheel that I use when painting still life's.
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Master Copies: J. C. Leyendecker, Albert Herter and Norman Rockwell

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I love to dig in and see how artists worked in the past and extract and use some of their techniques.  Master Copying has always been a part of learning as a student. Peter Paul Rubens did over 450 copies in his illustrious career. I try to do at least one every 6 months or so,  so here are a few Master Copies that I've done over the past few years. J. C. Leyendecker Albert Herter Norman Rockwell
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Step by Step: Still Life

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This past year I have been able to paint with a small group of professional artists in Maynard MA. While teaching, I wanted to take them through the step by step process that I had learned at The Water Street Atelier. Below is each step in this   process for doing a still life painting. The Drawing : this is the most essential part of the whole process. I use my drawing (done from life) to recreate the 3 dimensional world on my 2 dimensional paper. I'm mapping over the set up so many times that I become really familiar with the objects and the orientation of the light to the objects. Transfer to Canvas : In this step, I get a printout of my drawing to scale, and do a paint transfer to canvas. Essentially its rubbing paint on the back of paper and then applying the paper over the canvas. I use a ball point pen over the printout to push the paint onto the canvas. when my drawing is transferred and dry, I go back in and do a open grisaille. This is done usually in on...
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