How to Paint Orchids

"Arc of Orchids"
8" x 10" Oil on Panel

I've been wanting to do Orchids for some time and so I got busy early today and set these up in my shadow box. So here's the set-up.
I used to paint very hard edged reflections when I first started painting still life and have since gone to a softer more romantic look. We'll talk more about that as the lesson progresses.

I'm currently unable to paint by natural light due to the fact that my windows are no longer looking out on the world but on the inside of my new, presently unfinished studio. While there's a beautiful seven foot arched window that faces north in there, none of the light reaches my old studio. When they punch through to the old studio, that room will become my new office and I can set up my still life's under the beautiful soft north light that comes in from the arched window. In the meantime, I'm using a plant light that sort of replicates natural light, but still tends to the warm side. Hence, the rather gold looking tones in the silver bowl.

I started by laying in a basic sketch of the still life with some raw umber and mineral spirits. The yellow ochre background you see is the color of the gesso I used to tone the board. Daniel Smith makes it and I like it because it saves me the trouble of toning a board a few days before I start to work. I don't always know in advance what I'm going to want and also don't have enough spare boards on hand a lot of the time to create diversity.
Working on a toned surface is important because it allows you to better judge values (lights and darks). There I go again talking about values. But they're soooo important.

I did the background first and reserved the shapes of the flowers. Note that in ala prima painting, you try as much as possible to reserve the areas where you are going to place flowers because it's too easy to muddy the colors otherwise.

I used Viridian Green, Raw Umber, and touches of Ultramarine Blue in making the background. I chose the Viridian because it's bluish tint would set off the reds in the flowers without making them too vibrant. The lighter areas were lightened with a touch of Naples Yellow because it's less cool than white. I wanted it a bit lighter where the second bunch of blooms fall because that's where the lightest petals will be and I wanted to lighten the "air" around the flower.

The color of the flowers is mixed with Daniel Smith's Quinacridone Pink. His Quinacridone colors are very intense and don't lose their intensity when you mix them with white. I used a bit of Alazarin Crimson and Ultramarine Blue for the shadow parts and Cadmium Red Light for the center petals.

Note that I use the largest brush that can get the job done. I start with a single stroke - beginning and ending the stroke. I don't go back in and belabor it. That's not to say that I don't use smaller brushes for the detail and places where the petals have highlights on them, but I try to use a loaded brush and get the stroke right on the first try. I'm not always successful. But I'd rather wipe it off and try again, than have an overworked flower.

The pot here is started with Burnt Umber and also some of the background color mixed in. This is important to do in order to give the pot the appearance of being part of its environment. Air, so to speak.

Here I've started to put in some of the background flowers. I'm not working too hard to bring detail into these. You can't see detail from the distance I'm sitting at so why should the viewer have to see it. It's important to keep that in mind. I hear from my students a lot that they "can't see" well enough to get these vague areas. Precisely. That is the point. They are vague.

I'm using Naples Yellow on the pot to bring out the patina. I don't want a hard highlight even though that's what appears before me because of the artificial light. So I lay in the paint and then soften the edges moving out from the center with my brush. You can see a bit of Burnt Umber on the pot here where I've warmed it up to bring it forward in the bulge. I've started the reflection of the cloth, making sure to keep my edges very soft. Inside the pot there's some lovely reflections of the petals but they look a bit orangey to me, so I've tentatively started them that way. They'll likely change as the painting progresses because my eyes will adjust further and color relationships will become clearer to me.

Here the second flower is in and you can see how the bloom is a lot brighter. The picture is a bit on the light side here because I have an Ott Light above it. I've made better adjustments for this in the final picture.

I've put some color into the inside of the pot. A bit of Burnt Sienna and Naples Yellow with Burnt Umber for the darker areas. I've still reserved that orangey spot.

The last of the blooms are in here except for two. Nothing much has changed in the pot at this point except I've darkened a band around the rim.

Sorry for the glare here. It's very hard to see on the camera when I'm taking the shots. The light in the studio is so carefully set with overheads off and separate lights dimmed and directed away from the still life, that it's too dark to just snap a shot. I need to use a longer exposure that tends to pick up more light from other sources than I can see on the lCD display.

I've added the reflections from the blooms on the pot and also brightened the rim of the pot. Nothing much done on the inside yet.

My timer didn't go off so almost 20 minutes elapsed here. The last two flower have been added and I also put in the stems of the flowers. The stems are made up of some of the Viridian Green and a bit of Cadmium Yellow Light.

On the fruit, I started by laying in the core shadow shapes with a darker (OK, I know it doesn't look light) mixture of Viridian and Burnt Umber. You can see this on the apple to the left. The cast shadows were laid in with Burnt Umber on the table portion and a shadow mix of Ivory Black, Cad Yellow Light and White on the table cloth. I brushed in a bit of Yellow Ochre in both shadows to make them more transparent.

The apple color was basically Viridian, Cad Yellow Light with a bit of Cad Red Light to tone the hue. I used the darker mixture of Viridian and Burnt Umber for the turning edges and shadows on the apples slices.
Note the Yellow Ochre in the table cloth. Adding a bit of this or Cadmium Yellow Medium will make a white cloth glow when used sparingly in the shadows where you see light coming through the cloth.

The pot is looking up here. I've rounded the shape a bit and added a highlight to the rim of the pot. I'm starting to see more color in the interior but won't add it until later.

This is the finished painting but it took another hour or so to get here.

The lights on the apple are in. Simple combo of Viridian Green, Cad Yellow Light and some white on the highlight portion. The stem was just some dark Burn Umber.

I've added the reflections of the fruit to the pot and brushed some more color from the flower into the bulge of the pot in the front to bring it forward. Note that the reflections in the pot are vague. I didn't make them sharp edged because to do so in this type of painting only confuses the viewer.

The apple core color is Naples Yellow and a touch of Cadmium Yellow Medium. The pits are just a smidge of Burn Sienna.

For the table top, I used some Burn Sienna, Naples Yellow and touches of white to bring out the area where the light is hitting it. The front of the table is just a darker version of this color with smudges of Burn Umber and background color.
For the handles and foot of the pot, Just some small blobs of Naples Yellow and White mixture on a vaguely painted handle of Raw Umber. Note the shadow of the handle on the left side. This pops the handle and helps to give a dimension of reality. It's these little touches that make all the difference. Thanks for stopping by!

If you'd like to purchase this painting, visit my blog at www.susanmartinspar.blogspot.com and click on the "Buy Now" button. You don't need a PayPal account and can choose to use just your credit card. $99.00 USD plus $15.00 S/H.

How to Paint Pink Roses in Two Hours

My deepest apologies for having taken so long to post to this blog again. I've been touring the Mediterranean and before that summer had me in high gear for the festival season. But winter is here again - nearly, and so I'm back to my routine of publishing regularly.

I thought I'd start off with a small painting I did today for Daily Painters. I thought that after a month or so away, it would be really hard to get into the studio, but I found myself getting excited about squeezing out paint as I moved around getting a small set up ready. The construction guys are working on my new studio so it was comforting to push paint around while I listened to the steady drum of hammering on my new roof.

I know that I promised I'd talk about my workshop with David Leffel but I've decided that I'd talk about what I learned as I integrate it into lessons. That way it sticks for me and makes better sense for you. So, let's begin.

Here's the set up.

Sorry that this photo's a bit on the blurry side. Before I left on vacation, I put everything away in anticipation of the construction crew breaking through to the old studio. So much as for construction schedules. I had some trouble locating the tripod. Don't worry - it gets better. Just a reminder to new folks just tuning in for the first time. These shots of the set up are just for your information. I NEVER use photos to paint from in still life. Photos distort and generally mask color and light in disproportionate ways. Shadows are always too dark and lack color and the highlights are always washed out. Texture all but disappears. I always work from life when I can, and I encourage and teach all my students to do the same.

I kept the setup simple here because I needed to ease back into the painting process after a month away. In the next photo, you can see how I blocked in the basic shapes. I sort of drew the composition in with raw umber and then filled in the shadow areas with umber to get an idea of the composition and how I wanted to fill the space.

After I did this little sketch, I decided that the whole thing needed to be moved down a bit and when I started to fill in the background, I did so. I used a combination of Thalo Blue, Ivory Black and Raw Umber to work in the darker areas of the background. The same combo with more white and Naples Yellow was used for the lighter area.

You can see that I haven't yet moved things down here, but it becomes evident in the next photo.

David Leffel prefers filbert bristles and that's a big change for me. I have traditionally preferred to use sables and still do for the smoothing of a background. But here you can see that I am using a palette knife which is another of David's favorite tools. I am quite enjoying the mastering of this tool and find that it works very well for helping me to attain the texture I desire on my vases.

To turn the vase, I used more of the background color with a bit of Ultramarine Blue. I darkened it a bit more with Ivory Black and used it along the core shadow. This added some drama to an otherwise ho hum set up. For the vase itself, I used white, some of the Thalo Blue and a big of Naples yellow. I didn't mixed the color evenly but just jostled it a bit with my brush to give a more interesting mixture. Then after using a brush in a cross wise (across the form) motion, I then turned to the palette knife to bring in texture. Notice the reflected light on the shadow side. Just a slightly lighter mixture.

I find students get all tied up over what "color" to make the reflected light. I'm a bit like David here in that I use color on colorlessness as my MO. That means that I don't dither too much over the dead areas but keep them simple. You can choose to add some color in the reflected light areas but they should be kept generally cool in temperature. Shadows should be warm. I laughed at the workshop when I heard David say to a student, "cool light, warm shadows; warm light....uh...warm shadows." Shadows just look a lot better when they are warm. If you are using blue in your shadows, use a warm blue - one that has red in it to warm it. Here on the cloth, I used some of the background color neutralized with raw umber to warm it a bit. I felt OK using that blueish tone because there was so much of it in the background and vase already that it made sense to use it in the shadows.

For the cloth, I used a touch of the background color with Ivory Black, a tiny bit -TINY - of Cadmium Yellow and a touch of white for the shadows areas. Some warmth was added in areas with some Yellow Ochre ans white. The light areas of the cloth were done with white and Naples Yellow. I used a palette knife in places to build up the highlights.

For the table top I used a bit of Burnt Umber, white and Cadmium Yellow Light for the top and for the sides, just Burnt Umber. I kept the brush work loose and strove to keep it light. Next, on to the roses.

I like to use quinacradone colors for my pink or red flowers because the color is very intense and doesn't get washed out with white as do the Cadmium reds. I used Daniel Smith Quinacradone Pink for the base color of the roses and then I added mixture of Cadmium Orange and Cadmium Yellow Deep to it to bring out the coral color in the roses.

While it looks like there's a lot going on in these flowers, their construction was really quite simple. I used a medium size filbert and brushed in the center color. A couple of strokes was all it took to make the petals. Where I wanted a petal to turn or an edge to come forward, I piled on the paint, made the edge sharper and sculpted the paint. I use Maroger Medium for this as it allows me to retain brush strokes and build the paint up. I grayed out the pink with an addition of background color (it looks more blue here than green due to the thalo, but in reality it has more of a green cast which neutralizes the pink in the flowers and makes for a good shadow.

In the last photo and the finished painting below, you can see the leaves were worked in last. I used Thalo Blue and Cadmium Yellow Light with touches of Naples Yellow here and there. For the darkest parts of the leaves, I mixed the color with a touch of Ivory Black to strengthen the darks and shadows. Let me emphasize the fact that when I use Ivory Black, these are just little dabs of this neutral. Ivory Black has a lot of blue in it and can actually be used in some paintings as blue if properly painted alongside colors of more neutral or warm tint. Try making a lovely green by adding some Cadmium Yellow to Ivory Black. You couldn't do that if it didn't have blue in it. You just don't want to overdue the black or use it by itself for shadows. It would deaden the space. Shadows should have some color or light breathed into them. That's why I use Cadmium Yellow in my shadows. The last thing I did here was to add more Naples Yellow to the background to liven it up and some pure Quinacradone Pink and Alazarin Crimson in the center of the flowers. A quick little warm up to get back into the flow of paint. Any questions, just post them here and I'll answer them for you so everyone gets to see the answers. Thanks for tuning in!

Addendum

Oops! I hit the "enter" key and published before I was ready. Well, I'm almost ready.

I'm working on three things this week: shadow strength, stroke direction and quality, and brush work. All stuff I should know, but need to be strongly reminded of. I'll give you all the details as the weeks progress. But suffice it to say, I'm putting tape around all my brushes to remind me not to let my hand slip below the tape. Seems a good idea. I generally hold my brushes at the ends but forget a lot during the initial layin. David says it's important to start finishing a painting from the first stroke. Now that's something to think about.

More later. I need a shower and some sleep.

Day Three David Leffel Workshop

I'm pooped. I've been painting since 9:00 am this morning and my brain feels like mush. I'm definitely in workshop curve curse. I forgot how to paint fruit. Fruit!!! I totally forgot how. David said I've been going "down hill" all day. Certainly feels like it. At least it's not a surprise and it means that I'm trying to unlearn old habits and learn new ones. Of course I forgot how to paint fruit - he does it so differently than I do!

Day One of David Leffel Workshop

Aaaagh! I forgot to bring the gizmo for my camera that downloads the photos!!! But take heart...I'm taking tons of photos and lots of notes. I promise you all I'll start posting the workshop stuff as soon as I can following my return on Friday.

All my fears are put to rest. David Leffel is an incredible, humble, beautiful human being and an incredible teacher. We spent the first half of the day in a demonstration and the second half setting up and starting our own still life's. It's very exciting! There are about 20 students in the workshop and everyone is very intense about the work. Everyone is on a different level but it doesn't seem to matter - David meets everyone on the level they are working on.

Just as I feared, I'm in workshop mode. But David said that my set up was great and the painting is coming along great so I shouldn't worry. However, I'm attempting to do the entire panting in hog bristles which is a huge change for me. I generally lay in the painting with bristles and then switch to sables for the rest of the work. I feel like I've spent the day fighting the brushes. But so far I'm resisting the temptation to switch to my regulars. The palette is also a bit more limited than the one I generally use but so far that doesn't seem to be too much of a problem.

I'm pretty beat tonight and I'm going to hop in the shower and then snuggle into a comfortable bed for some reading. I'll check in with you all in a day or so.

Learning with David Leffel

I've been rather busy the last couple of months and things aren't going to settle down anytime soon. My studio is undergoing re-construction this month and I'm taking a David Leffel workshop in Fall City starting this monday through Friday. I'm very excited. If you don't know who David Leffel is, I suggest you Google him. He's considered a living Master and his work has influenced every stroke of paint I've made in the past two years. He, above all, is considered one of the great teachers of our time. Here's a comment on someone's blog about him.

I consider it a great privilege to take a workshop with this painter and at the same time I'm terrified. I understand completely what my students feel when I approach their easels during a class. On one hand you are so hoping to get a kudo from the teacher, terrified they won't say anything (what's wrong with it????Is it that awful??? What am I paying you for?) and at the same time worried that they will. What I have resigned myself to being in "workshop curve". I seem to forget everything I've ever known and everything I've ever studied, my hands become absolute paddles, my brain gets addled and I totally do a brain freeze on mixing color. What is that anyway? Sigh. But I'm still excited to meet the Master. I'll be trying to post a few things to this blog during the week, but forgive me if it doesn't happen. I promise to share everything and anything I learn with you all. Many thanks to Rosa for calling me about this workshop. I didn't think at the time that I would be able to do it. My husband convinced me otherwise. What a gift.

How to paint an Asian Jar with Flowers

Well, it's been awhile and I apologize for that. I haven't been publishing as much due to the need to take care of other business. The good news is I'm getting ready to enlarge my studio, the bad news is, that project along with all the others this summer is keeping me out of the studio.

But I've been busy nonetheless. I've worked out a link system to my website that will allow me to do the actual blogging a bit easier. Blogger's set up makes it difficult to upload multiple images and still keep things compact and simple. It often takes me three or more hours to do a simple lesson on blogger. I'm hoping with the addition of a "Student's Atelier" pages to my website, I will be able to keep things organized.Essentially, nothing changes for you as this blog continues to be the launch point for all lessons. So to begin, click here. If the link fails to work for some reason, just paste the following into your browser and away you go.

http://susanspar.com/Oil%20paint%20lessons.htm.