Wednesday, August 06, 2008

Daily Painting Practice - Plum Shades

Another day another color combination to play with.
The plums really stand out against this old piece of pottery.
The thing that is giving me the most trouble is how much detail to show in the pottery. Too much and it comes forward and takes away from the plums.
I thought I had it at this point but there were a number of things that bothered me. The foreground for example... don't like it.... take it out!
click on the image to enlarge the painting

Plum Shades
original by Peter Yesis
6"x6"
oil on canvas board

I also put a layer of background color on a ran it into the shadow side of the pottery. Then went back in to bring out some texture. It has a real southwest feel to it. Don't you think?

3 comments:

Marilyn M. King said...

Peter, I agree, southwest feel. I think you nailed it in regard to the amount of detail in the pottery, the fruit pops!
I wanted to thank you for the "smile" blogs and also for the recent addition of the still life set-up photos. It is really helpful seeing the subject that is being painted as well as the wip photos.

onpainting said...

The foreground without the edge does look to be a better balance to me. I like this piece and the flowers below.

Thanks for your mention of our blog.

HALL GROAT II | AMERICAN ARTIST said...

Terrific work!

Greetings,
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-Hall Groat II
Professor of Art
Broome Community College
www.hallgroat.com
http://www.hgroatii.blogspot.com/
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In 2006 Hall Groat II became involved with the new international contemporary art movement called "A Painting A Day" which originated in the United States and emerged on a global scale in 2004 through the confluence of various cutting-edge cyber elements, including free public auction sites, blogs, video sites, pod casting, and message boards. The initial model has evolved into a global view of fine art painting, nurtured by the Internet's public domain status and free from the influence of traditional institutions. There exists a renewed sense of ethos among artists internationally. Artists that have been oppressed geographically and socially historically are now being liberated through their ability to both communicate with, and impact society on a global scale. Through the public domain of the Internet, artists are now working autonomously and managing the traditional practices of art education, curation and exhibition, marketing, criticism, and historical documentation. The Internet has democratized the manner in which these 20th century institutions are practiced.