Oil on Panel 6″ X 6″ This is another limited palette study, this time using burnt sienna and ultramarine for the background and cloth, and raw sienna and ultramarine for the silver. The particular white cloth I used (a napkin from our wedding last august) had a definite bluish cast. The silver had a warmer,
Still Life with Duck Egg
12th December 2006 A bit of a departure, this one. Firstly, it’s quite big for me, almost the size of a proper painting.Secondly, it’s got more than three colours in it. This one is a reprise of the originalduck egg still life tonal painting in rawumber and white, but with a few bits and bobs
Still Life Study with Glass of Water
29th November 2006 Oil on Panel 6″ X 5.5″ This is the last of the tonal studies for November, and also the last (for the time being at least)in burnt sienna and ultramarine. I’m starting December with a brand new palette: raw sienna andultramarine. Now don’t get too exited, I know it’s a big
Still Life Study with Teaspoon, Chinese Bowl and Shell, A Limited Palette Study
26th November 2006 Oil on Panel 6″ X 6″ This is a part of my limited palette series, a series of still life studies painted with only two colours and white. This one was painted with only french ultramarine, burnt sienna and flake white. I think I’m starting to hit my stride with this
Onion Study
25th November 2006 Oil on Panel 7″ X 5″ This is the fourth in the series of ulramarine blue/burnt sienna studies. I used the burnt sienna moreas a local colour in this one, since it’s a pretty good match for the colour of an onion. Althoughthe cloth that the onion is sitting on is grey,
Coffee Pot Study
23rd November 2006 Oil on Panel 7″ X 5″ Continuing the series of ulramarine blue/burnt sienna studies, in this one I wanted to get a way fromthe more unmixed sienna of thehanging garlicpainting, and explore the greys available from amix of the two colours with flake white. Ultramarine and burnt sienna make a very
Still Life with Hanging Garlic
21st November 2006 This is the more finished and larger study of the garlic bulbs, for which thesmall study was donethe day before. It’s the second painting done with only three colours – burnt sienna, ultramarineblue and flake white. That might seem a bit limited, but after seven paintings done in just raw umberand white,
Study for Hanging Garlic
Oil on Panel 7″ X 5″ This was just a quick one, and is the first of the tonal studies in burnt sienna and ultramarine(and flake white of course). Being as the painting that this study was for, theHanging Garlic still life, wasquite a large one for me, and since this was also the first
Tonal Still Life with Duck Egg
15th November 2006 After six small tonal studies, I thought it might be an idea to try something bigger.All the studies so far have been done in a single sitting, this one was doneover three days and represents about 16 hours work. I wanted to see what would happen if I tried to take one
Japanese Cup and Teaspoon, A Still Life Value Study
11th November 2006 Oil on Panel 7″ X 5″ All these tonal studies have been derived from the series ofstill life drawings inone way or another. This one is a composite of two of the drawings,the cup, teaspoon and shelland theglass and teaspoon. I’ve taken the backlighting from the glass and teaspoon drawing. There’s something
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