How to Paint a Magnolia Spray

Summers are always a very busy time for artists. It's when things really come alive in the art community. Art fairs start happening, galleries are all a buzz, art walks get under way and studios open their doors for tours. And that's exactly what I've been up to. Since I started attending atelier with Tenaya Sims six months ago, I've barely had time to paint let alone put together a lesson. And then when summer came along, well, the first paragraph says it all.

Thanks to Facebook, I've recently been connecting with old friends and one of my teenage buddies just commissioned a small painting from me. So I thought that I might as well kick off a lesson while I painted. This time I remembered to set my timer so I could take photos at regular intervals.

OK - here's the set up. My friend just wanted a spray of Magnolias without the attendant vase. Schucks! I really love painting vases, but alas, it was not to be. So the vase in the lower left hand corner will not be included in the painting. For the sake of expediency, I'll not be capitalizing the names of the paints. Now remember, the photo is for the sake of this blog. I NEVER PAINT FROM PHOTOS FOR FLOWERS! I emphasize this because it's something I'm adamant about. In fact, I almost never use photos except for the occasional landscape and then only because my bad and aching back doesn't allow for a lot of plein air junkets anymore.

I started with a sketch of the spray on a gessoed panel and then fixed it with spray fixative. Krylon spray will do for this. I followed up with a tone of raw umber - my preferred tone for floral underpaintings. Then I lifted out the lights trying to pay attention to where the shadows fell. I didn't worry too much about the stems as I paint them in last and can find them by just looking at the setup.Next I laid in a background of raw umber mixed with some cadmium yellow light, naples yellow and a tad of titanium white.

As always, I started laying in the shadow shapes keeping everything soft and not too sharp. The shadows were at this point a simple mix of ivory black, cadmium yellow and white - maybe a touch of ultramarine blue. The blue is sometimes a nice touch but not always necessary as ivory black is actually quite blue in tone. As a matter of fact, many of the masters used it before lapis blue became widely available. It's a credit to them that they managed, through a solid understanding of color theory, to make it look so blue.

The reddish tones were added by the judicious use of a little Pouzzouli Red (more about this color later). The yellow tones by the addition of a mixture of yellow ochre and white.

Of course the lights came next. Cool offsets warm and vice versa. I also used some of the background color to tie in the flowers with their background so they looked airy and not pasted on. Relative to the lights, the shadows are slightly cool. Thus the use of naples yellow and titanium white to make a warm white mixture is the trick here in making the lights pop. But here's another interesting and conflicting point - just to confuse you. Had I mixed a very small amount of ultramarine blue in with the white instead, it would have worked well also. That's because the cadmium in the shadows would have played off against the cool blue. Still, I like the way naples yellow brightens whites and I save a cool white for when I really want to throw a zinger in.

At this point I wasn't laying the paint on too thick. I wanted to keep my edges soft and add the globs of paint that would give sharper edges to the blooms after I decided where they were necessary. Things look relatively flat at this point, but hold on to your paint brushes. Things will start to improve shortly.

Here I've started to paint in the smaller flowers and buds. You can see that I've also started to add some thicker paint. Notice that I do this on the petals that are coming forward in the flowers. In order to push the ones in the back ground back, you paint those petals flatter and thinner. Thick accents thin just as warm accents cool.

Here's a closeup of the flowers.

Now on to the leaves. I generally don't carry a green on my palette but for for magnolias it's helpful to use a little thalo green. Now this is a very cool green because of a blue tint. Thalo is also a chemical color - not a natural pigment color. As a result, it has a very strong tinting strength and should never be used straight from the tube or in large amounts. I toned the thalo green with alizarin crimson which darkened it without warming it too much. Alazarin has blue in it and is a cool red. The use of cadmium red would have made the mixture too brownish (green/blue and red/orange cancel each other out). This cool mixture helped immensely when I got to the back side of some of the leaves which were a warm orangey color. Again, the play of cool against warm makes these leaves stand out.

The highlights or lighter passages on the blue/green leaves were done with a lightened background mixture.

For the orangey/brownish or golden leaves, I used a mixture of yellow ochre and touches of either naples hellow for the lighter parts or burnt umber for the darker shadows. As always, I laid in the shadows first!

Here's a closeup of the leaves.

Lastly, before I put in the stems, I punched things up a bit. The central flower was lacking color, so I warmed up the blossom by laying in touches of warm reddish tones. The color I uses is Pozzuoli Red from Rublev. It's a natural pigment but very close to burnt sienna, except it's opaque rather than transparent as is burnt sienna. However, burnt sienna should work equally as well. A bit more yellow ochre in a few places and some pinkish tones from a mixture of cadmium red light and white, and the color was right.

But I still wasn't finished. At this point, I sharpened some of the edges, deepened some of the shadows and thickened some of the lights. Then I added the center of the bloom with stamen.

The finishing touches came with the stems. These were executed with mixtures of alizarin crimson and Pouzzouli Red for the darks and touches of the leaf mixtures for highlights and some additional darks.

Here's the final piece. Hope you like it....hope my friend likes it.

"Magnolia Spray", 11" x 14", Oil on Panel

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.

How to paint an Asian Tea Pot and Peaches

I recently spent a weekend in Victoria visiting with some friends. An afternoon jaunt to China Town netted me this lovely Tea Pot. I fell in love with the dragon. With summer nearly here and other demands calling for my attention, I thought I'd spend the entire day on this painting and see what the investment in time on a single sitting could yeild.

Here's the set up. I ended up changing a few things once I began the layin.

I love to paint lace and it's always a challenge to make it come out right. I nearly always have to remind myself to take my time on it. I'm always glad when I do.


I started the painting with a basic monochromatic underpainting using some acrylic black and white. I wanted to get a feel for the light in this piece and a good value study is always helpful. You can see that I kept things pretty loose and used a relatively large brush. I avoided details and just kind of played
with how I wanted the brush strokes to go. That's one of the cool things about working with acrylic at this stage. You get to see how things will play out. The lighting for the background was a bit tricky. I wanted it to be atmospheric and not too dark. But I didn't want it chalky either. I knew the transitions would be important.

In the next picture you can see that I've laid in a background mixed from burnt umber, cad yellow and a touch of naples yellow for the lighter hue. I've blended that with a darker mix that has a bit of ultramarine blue and no naples yellow in it.

I smoothed out the brush strokes with a very soft black sable Performen brush. I love these brushes. They have a multitude of uses and cost relatively little compared to other sables. ASWexpress.com carries them.

Here you can see that I started with the base color of the tea pot. I've used titanium white, naples yellow, some background color and a touch of ultramarine blue. This is mixed in three shades from light to dark. I'm very careful to conserve the lightest light which will be used later for highlights on the pot.

A good thing to do when you are painting a light colored piece (or any color for that matter) is to squint down and compare the value of the object right next to the highlight. You'll be surprised at just how dark by comparison it really is.

Remember to keep your shadows thin and the lights thick. There's actually a good amount of paint on the lighter areas.

Now the peaches. First I mixed the shadow color using a bit of alazarin crimsen and sap green. I pushed this into the shadows of the fruit. Next I mixed a light mixture of cad yellow deep, cad light, background green and naples yellow - keeping the mixture light and not trying to over mix it. Stir it together on your palette like you are making muffins. Too much mixing and the muffins go flat.

Things are not too defined here and I'm keeping my edges soft. I'm looking for value changes and just trying to make sure that things stay where they are supposed to. There's actually three peaches on the right. One in front of the other and I'm struggling here to get one pushed back and the other brought forward.

A note about edges. Edges are like the marks on a music sheet telling the musician when to go slow and when to go fast. You edges are supposed to act as guides to the viewer, signaling them as to the pace of the painting. Your job is to conduct the symphony and lead the viewer where you want them to go. But it's best to leave all your edges soft until you get to near the end stages. Then you can adjust edges with a little more authority.

Notice the spout and how it appears to be covered with background color. That's because it is. When I lay in a color or area behind an object, I don't paint to the edge. This creates a edge that is too crisp making objects appear cut out or pasted on. The trick is to "paint through" the object. You can come back in later and paint back into the area appropriately. I've added it finally and put a light passage near the top in the next photo.

I've also laid in a basic color for the grapes. I started with alazarin crimsen and black but changed that to cadmium red and black. Worked better.

Here comes the lace. I thought a lot about what I was doing here so that I could explain it to you as I go along.

Basically, when you paint lace - and this goes for almost any medium, you paint the holes first. After laying in the cloth with a similar mixture to that of the tea pot, I took a bit of raw umber and background mixture and then took a soft brush and kind of stippled in the designs of the lace where the holes were. Don't worry too much about getting all the detail. If you get started with a basic pattern, just repeat it with a few variations making sure to follow the folds of the cloth. Pay attention to the lights and darks (overall values) on the cloth. You don't want to go light where you should go darker.

Oops! You can see I messed up got some paint where I didn't want it - namely on the peach. No worry - everything is fixable.

In order to brighten some of the pattern and make it stand out more, I mixed some of my light mixture with white and naples yellow and thickened it with Maroger. Then using a small brush I picked up bits of the paint and laid it on the areas where I wanted the pattern to stand out. NOT EVERYWHERE! Sorry. I sometimes get excited with my personal students too. Good thing they like me. Here's a close up before I put in the brights.


A note here about brush strokes. David Leffel (my hero), says that you should not be able to hear the stroke of the brush on the canvas. If you can you either don't have enough paint on the brush or you don't have enough medium on it. You should practice getting just the stroke you want with a loaded brush. A deliberate stroke that is not correct will look 100 times better than a correct passage that is overworked. This takes practice. Lots of it. So get your paints out and start painting a piece of fruit a day. By the end of the year, you'll either be fat as a cow from eating your leftovers or you'll be a genius at laying in paint. Or maybe both, but it will be worth it.

Ok. Here you can see the lights a bit better. Now that lace is starting to come to life. Now it's time to fix those poor peaches.


Placement is important here so I push the one in the back further against the background and reduce it's size a bit with background color and some adjustments to the cloth. This peach is furthest back and so it needs a soft edge where it meets the background color. I dragged some of the green down into it and soften the edge with my brush. The edge against the pot is a bit harder. I want a little air there between the peach and the pot. The colors are mixed with cad red light, cad yellow deep and cad yellow light. Not all mixed together, mind you, but in subtle ways to bring the color of the peach out. To turn the edge, I've used some of the back ground color and alazarin crimsen where the light turns to the shadow side.

The second peach also needs to be back a bit but not as far back as the formost peach. I've added a bit of green to the mixture. The peach fuz on the top is a mixture of cobalt blue and a bit of white. I've kept it's top edge soft and the left edge a bit sharper.

The peach in the foreground is lower on the surface of the lace. This brings it forward. It's edges are a bit sharper as well. But the shadow side is soft. Note the core shadow on the foremost peach. It turns the fruit.

I've added color to the grapes. A bit of blue (cobalt & white) for some reflection and a bit of cad yellow and rose for the areas of the grape where light shines through. The highlights are thick and I've run the end of my brush through them to add texture.

The handles have been ignored until now so it's time to give them a little attention. This is a simple mixture of yellow ochre. I've laid them in here with a bright brush to keep the square look I'm after.

Next I lightened the mixture a bit and laid it into the areas where the light is hitting. Notice how everything is still fairly rough.

Lastly, I take a bit of umber softened with background green and make tiny little lines to indicate the weave pattern on the handles.

Here you can also see that I've started to lay in the design of the dragon. I mixed a glaze of ultramarine blue with a touch of alazarin crimsen to darken it and then started to work out the design of the dragon.

I'm really grateful for those life drawing groups I go to every Tuesday. All that sketching has paid off and allowed me to get the dragon in fairly accurately without a lot of fuss. If you are trying something like this, I would suggest that you first let the white paint dry. If it's dry, you can make all the mistakes you want because you can just wipe out the glaze and start over. Here my paint was still wet so not only could I not afford a mistake, I needed to lay the glaze on with short light strokes so as not to disturb the wet paint underneath.

After the dragon was finished, I put the design along the top edge of the pot in. I changed it from the design on the original pot to something simpler (my back was killing me).

From this point on, I adjusted edges, checked measurements and put in the leaves behind the fruit. Oh, yeah...notice the highlight in the final photo. See how light it looks against what you thought was a really light pot?

Phew. An all day painting session, but it paid off. What do you think?

Oh. Just a note here...I appreciate your comments on the blog but I'd like you all to feel free to start a dialogue where you can learn from one another too. Feel free to post and ask questions of each other.

"The Dragon Pot"

12" x 14", Oil on Canvas Panel

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How to paint roses, Rose Oil Painting, 12" x 16" on Linen Panel

For a lot of people, the life of an artist seems like a romantic and dreamy existence. Well...it is, a lot of the time. But a lot of the time, it's just a huge amount of hard work and a pretty isolated existence. Every now and then, the routine of getting up early and going into the studio to paint or the office to work, or the gallery to handle business details, picking up supplies, dropping off at the post office, etc., etc., etc., gets to me. This weekend was like that so I took a few days off just to hang around, eat Weight Watcher snacks, read, play racquetball and ride my bike. Today, rested and refreshed, I went back to work.





The light in the studio was pretty bright but also pretty inspiring. I felt like white roses to go with the coolness of the setting. Here's the set up.





I always try to start my paintings with a concept. This is a thought that I have about what I'd like to achieve. It's not necessarily a picture in my mind, but more like an idea. The purpose of a concept is to provide a road map to the painting. If you hold your concept in mind throughout the process, it will keep you on track. It will also tell you when your painting is done. Once you have fulfilled your concept, then that's it. You're done. My concept for this piece was for overhead light which would pool over the top of the subject causing the objects below to be top lit. Instead of a transparent background, I wanted to have a very dark background to set off the roses.




I started the painting with a burnt sienna tone which I laid in the night before with a drop or two of Liquin to help it set up in time for the morning session. This morning, I did a quick outline of the subject in raw umber. Sorry for the poor photo - I held the camera here so things got a bit blurry. The rest of them are better.

I laid in the background - 2nd picture, with some umber mixed with thalo green and alizarin crimson. I left it loose around the flowers as I wanted some of the background sienna to show through around the roses.



I was using an ott light here on the painting as well as on the set up which, unfortunately, puts a bit of glare on the painting. I would turn this off from time to time to get a better reading on my values. The fact that I work in natural light most days, can create problems as I try to eliminate extraneous light sources and this can lead to a pretty dark room.

As I don't have overhead skylights in the studio, I needed a cool light source over my set up. So I set up one of my other Ott Lights over the set up. Because this does not exactly work the same as natural light on the subject, I had to turn this off from time to time to get a better idea of what some of the objects look light in dimmer light.

Next, using some burnt umber with a touch of cad orange, I laid in a quick color for the table top. This is just a base color as I intended to add reflections and highlights later.

The shadow color for the object - basically a burnt umber had been laid in at the initial start. It's important to get your shadow colors in first. They provide the bones of the painting and you don't want to be changing them later in the game. That is a recipe for disaster.

Using a mixture of naples yellow and white, with background color for shadow, I laid in the vase.

I use a medium called Maroger which helps to retain brush strokes. I sometimes let this sit on my palette in the freezer so that it's a bit more set up the next day. when I add this to the paint, it creates a stiffer mixture allowing me to sculpt the paint. The paint is thickest where the light is brightest and just before the turning edges of the vase. It's difficult to see in the photo here, but you can see it in the close-ups and in the final shots where I turned out the lights to take the picture.


In the picture to the left, I've started to put in the shadows for the roses. I used, again, part of the background color mixed with naples yellow/white mixture. A bit of violet was added in places.

The strokes laid in here are simple straight slashes made with a 1/2" and 1/4" bright. I'm trying to maintain the character of the roses. I try looking at them peripherally rather than straight on. This allows me to get the impression of the rose and its character rather than having to belabor the individual petals. My goal as a painter is to learn to say more with less. Quite a challenge for a former trompe l'oeil painter.



Here you can see that I've started to put in the lights. These were mixed with naples yellow and white - two mixtures. One light and one darkened with a bit of umber. Notice how light the mixtures look. On my palette they looked quite dark but when laid in next to the shadows the contrast in temperatures made them appear very bright. This is the same for the vase which appears quite lit but in reality is composed of darker value mixtures. I used some raw sienna in the lights for the warm centers of the roses.


You can see here the built up lights I was referring to above.











I'm finishing off the flowers here. Check out the pictures below to get a better idea of the details. They look a bit washed out by the overhead light here.























Using mixtures of thalo green, cad yellow and cad red to warm the mixture. I cooled areas of the leaves with naples yellow and white mixed in with the green mixture.

I then created a mixture of ultramarine blue tempered with some burnt umber and some Maroger to create a glaze. I worked this in the vase to recreate the design. Remember that a design can help to describe the form. I also lengthened the vase which I noticed was too short. This necessitated redrawing some of the fruit to drop it lower on the table.

The shadows of the fruit were laid in using some cad yellow, ivory black and cad orange. I used a cool yellow, zinc, to be precise, mixed with white for the sliced lemon. Warm tones were cad yellow medium and cad orange.








I took some of the cad colors and pulled the down into the table top to create reflections.

The lights for the lemons were done with cad yellow medium, and zinc yellow mixed with white. I left the lemon on the left in shadow.

Putting in the leaves on the right topped off the elements.

To finish off, I used a bit of quinacradone sienna on the table to create contrast. I further pulled down some of the lights in the vase and used a bit of ultramarine blue and white to create reflected light.

After a few tweaks here and there, I declared the painting done and put my name proudly on the bottom.

You can see the roses much better here because I turned out the lights for the picture. I'll try to remember to do this again in the future for the other pictures.

Phew. It sure takes a long time to write this stuff out. Hope you all got something from it.

I'd like to emphasize here how important it is to me that you leave a comment or two on the blog. For one, I'm happy to answer questions so that everyone can learn from them and, second, by posing questions or statements, you invite dialogue from others. This makes the blog more interesting and helps me to know what kinds of things you'd like me to focus on.

That's all. See you all in a couple of weeks.

To bid, click here.
If you haven't visited my Daily Painting blog, click here.

How to paint Magnolias and Brass in Oils

My apologies for not having published here for the past two weeks. Sometimes the necessities of making a living can really keep me busy - or too tired to do anything. I actually started to prepare for a session a couple of times and found myself 1/2 way through a painting before I remembered to take a picture! Well...here I am and I have a good session for you.

Here's the set up. I recently swept into an antique shop and found this beautiful brass pitcher. I'm a sucker for brass and copper. They're both such fun to paint! The set up doesn't look very impressive here but the light in the studio was just perfect when I started to paint. Besides, the rest comes from artistic license and vision. My concept was for the light to pool a the round base of the pitcher and around the first flower. I wanted the rest of the fruit to gradually catch the light and then fade into shadow.

I've recently started working on linen for my larger pieces. I love the stuff. It's a medium grade oil primed linen that comes in a large roll. I ordered it from Art Supply Wharehouse.

I usually paint on boards which I prime myself with gesso or face with canvas. In order to prepare this board, I cut out the linen, primed the board to seal it and then using Golden's Medium Gell, I adhered it to the board and burnished it down with a brayer. A quick imprimatura of burnt umber and cad red and I was ready to paint. I laid in the drawing with raw umber, keeping everything simple. Then I mixed my background color - raw umber, cad yellow and a touch of cobalt blue. The lighter area is mixed with a bit more of naples yellow to lighten it. Next, I brushed in shadows on the table top.

Oops! I got carried away here and totally forgot to take a picture. This easily happens to me and I wised up after this and started setting my timer to remind me to stop and take a picture. The pitcher came together rather quickly. I mixed together some of the background color and some raw sienna. Another mixture a bit lighter with yellow ochre and a third mixture of yellow ochre and cad yellow. I have touches of cad yellow medium which is a sort of orangy yellow also. The highlights were built of cad yellow and white. At this point, the pitcher is in but not completed. I'll save the finishing tuches for later. Oh...black was used in sections around the edges to lose edges against the background and for depth. The black was tempered with umber.

A couple of more tweaks done here to the handle. Highlights with with more of the cad yellow mixture were laid in to the scrolling work.

I also lifted out some of the color where the flowers would be. That's one of the things I found strange about linen - how easily wet paint can lift from it.

I had to keep turning the easel around to take it out of the glare of the window, so I apologize for the strange angle of the canvas in these shots. Here I've laid in the shadow color of the lemons. I used some background color modified with cad yellow medium and cad orange to create the warm shadow color. The tough thing to remember about painting shadow color is that the thing to do is not necessarily try to match the color of the shadow, but the relationship of the color to the list side as well as the other colors around it. That's a trickey thing to do right. Once you understand this, however, you will understand that paint is not light or the object you are trying to represent. It has it's own qualities and laws. Understanding them is crucial to getting your objects to come to life.

Next I made a mixture from cobalt blue, cad orange and naples yellow for the shadow color of the blossoms. I also mixed in a bit of cad yellow for areas where light was shining through the petals. I laid this in carefully wherever there were petals that were showing in shadow.

A mixture of naples yellow and white made up my petals. I also made up a separate mixture a bit lighter for brighter highlights. I laid the petals in carefully - taking my time here to keep each petal separate. It's allright to let the bottom levels blurr into each other. This creates a soft admosphere. But on the upper petals, if you want the flower to be recognizeable, you need to keep each petal distinct from it's neighbor. Don't belabor the petals. Paint them with a large brush and pay attention to their character. Load your brush with generous paint. The underblooms should be painted thinly while the uper ones should have body.

Once the blossoms were in, I laid in the center of the flowers with touches of burnt umber and cad orange. The pollen laden stamen were just tiny bits of naples yellow.

Here's a closeup of one of the blooms with it's colors and all its nuances.

The lemons were next. Using cad yellow light and cad medium, I laid in the lemons. I watched out here for the warm reflected light in the shadows. It's lovely ahd can really help to set off the cool yellow.

I wasn't happy here with the strokes on the lemon. I soon found that if the paint wasn't laid in thickly, I'd be picking up paint already laid in. I intend to go over these tomorrow to correct stroke direction and refine the cast shadows a bit.

The last step was to put in the reflections on the table top and to lay in a few leaves and stems. Colors already on the palette were used here and nothing special in the way of mixtures was used. Tomorrow I may rework the lemons a bit but for now the piece is finished and on EBay.

Feel free to leave comments on this blog. I welcome questions and will try to answer them as best as I can.

Oil Painting Lesson on Glazing for Roses and Fruit, 14" x 18"

Day Two: I got into the studio early today excited with the anticipation of finishing my recent painting. Although I enjoy my direct ala prima paintings, nothing lights my fire more than bringing a painting up to a polish. Normally, I spend a lot more time on my polished pieces, but either I'm getting faster or I'm getting less "tight" on a lot of things that used to take me days. It's probably something of both as I enjoy a more painterly feel but also like the polished look that that extra session or two gives. OK, nuff talk. Except there is one thing. I forgot to add this pic of my cats who had snuggled together for warmth in the studio patiently waiting for dinner yesterday. Rough life.

All right. When I got in the studio this morning I tested the painting to see where it was dry and where it might need more time. As I suspected, most of the painting, except for the white vase was dry. White - except for underpainting white - has a lot more oil in it and takes significantly more time to dry. No matter, I figured I could still swing a decent glaze on it. Before I began, I oiled out on most of the canvas that was dry with a bit of Maroger medium.

As you remember, I had intended to darken the background a bit and so first thing I mixed a glaze composed of thalo green, alazarin crimsen and a touch of raw umber. I laid this in with a very large soft sable brush. I mainly stayed on the edges of the painting. My intent was to bring out the light in the center of the piece and around the flowers.

I like the way this came out. Glazing into a background provides a feel of stained glass. The light hitting the canvas goes through the glaze until it hits the canvas and then bounces back. If you use pure glaze (which I haven't) from the start, the effect is quite dramatic. It bears saying here that if you intend to do your entire painting by building up all transparent glazes, then you need to make your underpainting nearly perfect and about three keys lighter than the actual values you want to achieve. The reason for this is because the multiple glazes will darken the image significantly as you proceed. I like to use a combination of opaque paint and glazes. If done correctly, this can still be quite dramatic.


My next step was to work on the fruit. Using the same combination of cad red light, alazarin crimson and cad yellow with varying degrees of naples yellow, I built up the color tops of the plums.

Then using some quinacradone magenta mixed with the alazarin crimson, I created a glaze and darkened areas of the fruit where the turning edges where and the shadows.

I used a little cad red adjusted with the magenta to make some reflected light on the plums. In cool light set-ups, the reflected light on objects is generally warm. The last step was to mix a small amount of the magenta with white and scumble this on to create the bluish haze of the plums.

For the grapes I followed much the same steps but used a bit of cad orange to create the transparent color of light passing through the grapes.

The highlights were the same color as the bluish scumble but with a tad of naples to warm and lighten them. After applying them, I took the back of my brush and squiggled it on each highlight.

The last detail for the grapes were touches of red here and there and then, of course the stems. Just some yellow ochre. I thinned the mixture with some copal painting medium and used a small round for the detail.

At this point, I lightened the table cloth and brightened the top a bit with a scumble of naples yellow and white. If you can't get it bright enough on the first day, you usually can on the second. That cloth lit right up. I did the same for the table top, keeping my lights close to the fruit. I also used a bit of glaze in the shadows of burnt umber to darken the cast shadow directly under the fruit.

Now I turned my attention to the pot. I mixed a glaze of ultramarine blue and a bit of cobalt. I thinned this out quite a bit with Maroger and using that same small round sable brush, I laid in the design. Once I was finished with the basic design, I went back in with a liner brush and put in the outlines and details on the design. This didn't take quite as long as you might imagine. Probably the most difficult part was the single line at the top and bottom. I simplified the design overall by skipping another horizontal line that appears on the actual pot.

Lastly, I put in the reddish leaves you see on in the foliage and then using some darker blue/green glaze, I pushed some leaves back and scumbled some into the fore ground. I checked edges to be sure the ones I wanted sharp, were sharp and the rest I softened. At this point I took a cup of coffee, sat back and just visited with the patient for awhile. The last thing I did before signing the piece was to mix another darker glaze for the base of the cloth. I darkened it and then also put in the other side of the cloth behind it. If you take a look at my daily painting blog, you can get a close up of the flowers. Viola. Done.

How to Paint White Roses

"White Roses on a Rainy Day"
9" x 12" Oil on Canvas Panel

It was raining today and my body hurt from an overkill on exercise (too much racquetball and hiking). I had a bad start to my day and it was raining out. I needed to do a supply run and by the time I got to my studio, I was exhausted and in a rough mood. But work harkened and I answered the call. Actually I welcomed the silence and stillness of my studio today and once the door was closed, I relaxed into my chair and began the piece I'm going to demo tonight while Nalie (Boo Boo), my cat, sleeps on my lap.

I started with a simple lay in of values with raw umber. I usually do more of an underpainting, but felt a bit pushed for time because of my late start so I took a short cut. At first I considered doing my background in a greenish umber so I laid that in and lightened some of the space to the left of the vase by adding cobalt blue and naples yellow.

The cloth was green so I started laying in the shadows with a mixture of sap green and some alazarin crimsen.

There's a bit of quinacradone magenta mixed with the umber wich I just splashed on behind the flowers on the table cloth. Not sure if I wanted this to stay or not at this point.

Here I've just finished laying in the background - right over that red and nothing much has changed.

Except that my Maine Coon, Simba, decided to join me by pushing against the door. After much complaining, I got him a pillow and made him comfortable. Dogs have owners, cats have servants.

I picked up this vase at a garage sale for a song and love it because of the great floral design on it. This sort of thing can be daunting for a newbie painter and even for an experienced painter it can provide a challenge. If you just treat the design as part of the whole vase, you'll have less problems. The design actually helps to describe the shape of the vase. I mixed the colors needed for the blooms with mixtures of naples yellow, cad red light and small amounts of yellow ochre. The greens were mixtures of sap green, alazarin crimsen for muting and darkening and cad yellow light and sap for the leaves on the vase. I tried to pay attention to the values of the decorations on the surface of the vase. In other words, if a flower was in shadow, it was the color of the flower in not the local color of the flower. At this point, the vase looks pretty flat and sort of pasted onto the background. Things are still pretty raw.

Here you can see that I've softened the edges of the vase. With a lightened version of the background color on the shaded side (right), I've laid in the shadow shapes for the roses. For the darker tones on the left side (lighted side) I've worked in some yellow ochre and touches of cad orange.

I thought that it would be nice to warm up the background a bit so I added a touch of cad red and white with a touch of quinacradone violet to the lighter areas of the background and pulled some of it into the vase for atmosphere. I've also started to add in leaf color here too and build shadows under the leaves with darker strokes of sap and alizarin crimsen. You'll notice that I put a little light behind the vase on the right side beyond it's shadow. This gives the illusion of depth to the painting. I've added some details to the flowers on the vase by putting in some dark accents.

Boo Boo came into the studio at this point and also complained mightily that Simba had the best chair and what was he supposed to do? Sit on that cold floor? Hmph. OK. Out came my felt vest and a warm place was made for him next to Simba. At least he wasn't walking through my palette - something he's done on at least one occasion before.

OK so settling in again, I started to add the lights in the roses. I made up a mixture of naples yellow and white and thickened it up a bit with Maroger Medium. Great stuff. Using a small 1/4" filbert bristle, I scooped up gobs of the mixture and laid it in on the edges of the blooms where I wanted the most light. I literally sculpted the flowers. Using a soft 1/2" soft bright sable, I made sweeps to suggest the broader edge of petals as in the flower laying on the table top. I've also pushed in the leaves here as well and suggested some up at the top near the blooms. I made the flower at the top larger to balance the bouquet better. Hmm. Still looking a bit flat at this point.

Well. It may have looked flat, but there wasn't that much left to do. I brightened the background, added some darker notes to the flowers and punched up the details on the vase flowers.

The vase still needed some dimension so I added a few darker notes to it's right side and some lit ones to the left. I created a cast shadow on the vase from the rose that is drooping on the left. Then I added some dimension to the leaves by sculpting them with a palette knife. Final touches were added by putting some lights on the table cloth and deepening the shadow under the vase. A little dab of reflected light on the right side of the vase and I was done. There's a better close up of the flowers on my other blog http://www.susanmartinspar.blogspot.com.