Thursday, July 31, 2014

Copper, Tomatoes, & Onion Oil Still Life


Copper, Tomatoes, & Onion
8 x 10 Oil
Carole Rodrigue ©2014


Despite having company for the week, I did manage to get this one done this afternoon during a short break.  The vine was full of tomatoes earlier this week but has dwindled down to the last two, so I tossed in an onion and my trusted old copper pot.  This had been a find at a second hand store several years back when I was looking for just such little old treasures.  I'm glad I found it since it's a favourite in many of my works.  I hope you enjoy this one, and if you do there are also other close up shots on eBay for you to enjoy.  Have a great night! 

Monday, July 28, 2014

Red Apples Daily Painting


Red Apples No. 2
5 x 7 Oil
Carole Rodrigue ©2014


These apples have been sitting here for about a week and I needed to hurry and paint them before they end up spoiling or being eaten. A lot of the fruit here get painted before they ever get eaten.  I hope to paint at least three more this week.  Company's expected tomorrow until Friday, but I am going to try to squeeze in a few hours Wednesday and Thursday to get some painting done.  I would just get too antsy sitting so close to the studio and not paint.  Have a great day everyone, and thanks for stopping by.  :-)
 

Tuesday, July 22, 2014

Antique Iron & Thread Daily Painting


Antique Iron & Thread
5 x 7 Oil
Carole Rodrigue ©2014


An old antique iron that's been laying around the house since forever is today's subject.  I can't recall if  I've painted it before, but I was due for using it in a daily.  There are close up shots on eBay if you're interested.  Now it's back to my crow. . .

Monday, July 21, 2014

Cherry Cheesecake Daily Painting


Cherry Cheesecake
6 x 6 Oil
Carole Rodrigue ©2014


I had posted a photo of a cheesecake I make yesterday on Facebook and several people were asking me to paint it.  So here's to all cheesecake lovers, a scrumptious piece of cherry cheesecake on a hot summer day.  Enjoy!


Friday, July 18, 2014

Apple No. 4 Daily Painting



Apple No. 4 (unframed)
5 x 7 Oil
Carole Rodrigue ©2014

My painting for today is a simple apple on a napkin.  I also added a photo of it framed just to show how it looks in the frame.  It's a tromp l'oeuil and I love how once framed, it looks as though you could reach in and pull out the apple and napkin.  They seem to float inside the frame.  This is also the same effect I created with "Return to Sender", my package painting which was inspired by Claudio Bravo.  Bravo was the master of paper, fabric, and package paintings.  

I also started my rough sketch in oil for my larger painting which will be exhibited at the end of August.  At this stage, I'm still open to changing some things in the layout and am toying with another idea for something that could be added.  I'll decide by tomorrow.  Tonight, I'm going to start laying colour on the background and the crow.  I can't tell you how excited I am to be painting a crow! Keep stopping by because new work will be coming next week and I will post progress shots of this crow piece.  Have a great weekend!



Thursday, July 17, 2014

Pink Gerbera Daily Painting


Pink Gerbera
5 x 7 Oil
Carole Rodrigue ©2014

Today's painting is a pink gerbera from my garden.  I find pink a challenging colour to work with.  There are so many shades and tones, from warm to cool, so it's tricky getting just the right colour mix.  That's the great thing about being an artist though, trying to figure out all these subtle nuances that make something real.  It's also a great metaphor for life, as with so many things about creating art are.

This is now up for auction on eBay if you enjoy it.  Have a great day!

Tuesday, July 15, 2014

Cup'a Joe Daily Painting


Cup'a Joe
5 x 7 Oil
Carole Rodrigue ©2014

It's a cold rainy day here today, so coffee is what was inspiring, in more ways than one.  This is now up for bids on eBay.

 I'm also laying the foundations for a new larger piece as I mentioned yesterday.  I'm planning out what I'll draw first but I might be decided by tomorrow what will go on canvas.  First, I need to tone my canvas so it can be ready to work with tomorrow should I decide to start painting.  I usually always tone my supports with a good layer of burnt umber washed out with turpentine.  This process requires a well ventilated area, but it's so well worth it.

Why would you want to tone a canvas? First, I can't tell you how many times I've seen a painting with parts of the white canvas show through.  This looks amateurish and takes away from the painting.  A professional looking piece must be completely covered, unless the white parts are deliberate and incorporated into your painting.  Preparing a canvas by toning it also reduces the amount of time required to complete a painting since there is already a layer of paint completely covering your support.  This enables one to begin layering more easily, keeping in mind the fat over lean rule. The toning also creates a richer glow to your colours. The stark white of a canvas can distort colours.   Some prefer the brightness of colour painted directly over a white canvas, and that's okay too. With toning, you can also leave parts of the tone showing in your work, or uncompleted parts if you will peeking through, that give an interesting finish and can make parts of a painting glow. Should you for some reason also miss a little paint in one section, this ground colour will still keep your piece unified.  

Artists work with different colours for toning, but usually earth tones are preferred.  Some work with darker yellows, and others work with burnt sienna, some with grays.  I prefer burnt umber.  I start out by applying a little paint, but not too much.  If I need more, I add more.  This canvas shown in the photo below is a larger 18 x 24, so I used about three pea sized drops.  Maybe four.  I then take turpentine and saturate a bristle brush.  I like to keep some of my muddy turps for this rather than wasting it.  Once my paint-turpentine wash is completely covering my canvas, I let it sit for about three minutes.  I then take a rag and gently wipe in circular motions.  It's okay to leave streaks and uneven marks.  This can make for an interesting background should you use transparent glazes.  Once the toning has dried, usually the next day is good, then I'm ready to begin drawing on the canvas.  I like to use white pastel or chalk as you can see in the photo on a smaller dry canvas.

So, that's part of my process.  I find toning invaluable in my work and I've discovered the process has been much more enjoyable since I started toning my canvas.

Thanks for stopping by!