The two oil paintings they selected – “Fog” and “Cow & Trucks” – are framed, wired, and labeled. Next Friday I will be driving them down to the Academy Center of the Arts in Lynchburg, about an hour and a half trip. They both will be ‘Not-For-Sale’ because I will have them in my one-man-show at the Wine-Riner Gallery in Harrisonburg in May.
Six sessions at the Beverley Street Studio School, plus a few sessions in my studio, finally put this one to bed.
After a fifth session at the Beverley Street Studio School. I am having fun painting clouds that are variations on pink, yellow, green, and brown.
Never dead white. And, as always, without using black paint at
While I work on the “Approaching Storm” painting at the Beverley Street Studio School over the next two weeks, I am starting a series of small (12 x 12”) cloud studies here at home in my studio. Here is the first pass at “Cloud Study #1” begun with what I have already learned doing the larger painting at BSSS.
I had a pile of nearly black paint left over from “Empty Pint” and, rather than see it go to waste, added it to this work-in-progress.
This one is nearly done. It just needs a few touch-ups here and there, but I think one more pass should do it.
This is what indirect oil painting is all about! I am thinking of changing the name to “WalMart Bowl” (just kidding). Next week I will concentrate on getting everything level and on the proper plain, and making the ceramic pieces look ceramic, and the glass pieces look like glass.
This is about fifteen minutes into the first of eight classes of “Indirect Oil Painting” taught by Jeff Stockberger, at the Beverley Street Studio School in Staunton, Virginia. This will be essentially a monochromatic still-life with an emphasis on cream stoneware and glass. It should be fun!
Sometimes I wonder if I paint only as an excuse to make frames for the finished paintings. This one, made from #2 pine, ripped and routed from board stock, and constructed with biscuit joinery and glue, is for “Approaching Storm” which is still on the easel.
I used my largest flat bristle brushes to apply this second layer of paint, still mainly blocking in shapes and values, still trying to cover the canvas. The only colors on the palette so far have been cadmium red medium, cadmium lemon yellow, ultramarine blue, and titanium white, all from Gamblin.