August 29, 2025
Two Approaches
- Try to approach the multiple-object composition using a piece of cloth, instead of a brush for the block in.
- This will give you a quick start and make it easier to relate everything to everything else.
- Once you’re satisfied with the composition begin thickening up the paint with a brush or knife-cloth tends to thin the paint.
Painting the Interior
August 29, 2025
Laying In- Session 1
- Get all elements into the composition quickly and in an approximate way — think of this as scaffolding, not the final structure.
- Stay loose and ready to move things around; flexibility matters more than accuracy at this stage.
- Watch angles and perspective closely — they often shift as the work develops. Step back regularly to check alignment.
- Place details early, but don’t worry about precision. Suggest proportion and location first; refine later.
- Prioritize the light in the room more than the objects themselves — light establishes atmosphere and unifies the composition.
Finishing
August 20, 2025
Know when to push harder (refine, sharpen, define) and when to pull back (loosen, simplify, suggest). Pressure is not only technical—it’s also about focus and timing.
Multiple vs. Single Objects
Multiple Objects: Easier because the forms give context, harder because they must share the same light, space, and perspective.
Single Object: More difficult without context—you must carry the form across the whole surface.
Before and After
The after version of a painting is both tighter (more defined) and looser (freer) than the before.
Finishing Touches
Finishing involves both loosening (suggesting, broadening) and sharpening (clarifying edges and details). Aim for balance so the painting feels complete yet alive. In involves some stagnation-the feeling that you’re not getting anywhere. It’s OK, that’s normal and temporary…stay with it.
Oiling Out
Oiling out revives sunken darks and restores color. It also eases you back into the painting, like a temporary varnish that reawakens the canvas.
Balancing Elements in a Composition
August 13, 2025
Multiple Objects & Forms
- Can be easier and harder than a single object.
- All must share consistent lighting, spatial placement, and perspective. Handling can be freer (that’s the easy part).
Strategy
- Don’t develop all areas evenly.
- Resolve one object or area first – this creates “pressure” for the rest to catch up. Patience here.
- Adjust surrounding elements after key forms are strong.
Tips
- Use confident strokes to assert form and space.
- Compare objects for unity.
- Resolving one area spreads to the others. Successful elements are contagious.
Give this a try with a composition of your choice. Try to include 3 objects of more. We’ll take two weeks for this one so it won’t feel rushed.
August 6 2025
Florals
As delicate as flowers appear, it pays to attack boldly in your painting. Confidence shows in the brushwork—don’t be timid.
Use strong colors if you see them, generous paint, and clear, simple shapes. Refine later; too much detail too soon can flatten the energy.
Start from the center of the form, spiraling outward toward the contour. This keeps you from locking in a stiff or inaccurate outline.
Don’t chase edges—let form emerge through modelingg.
If it looks clumsy, let it dry and layer transparent washes over it. This can soften mistakes and restore freshness.
Stay willing to change and correct. A single adjustment can improve the whole.
Finally, preserve softness at the edges. Let some forms dissolve—not everything needs to be drawn.
Class Summary:
Subject Matter- Focused but Versatile
We discussed finding a balance between focus and versatility in your subject matter.
Focus brings depth.
It sharpens your vision, builds emotional connection, and helps your work become fluent and recognizable.
Versatility drives growth.
It keeps your vision fresh, brings energy to your process, and helps painting stay fun and exploratory.
Aim for about half to two-thirds focus on a central subject, and use the rest of your time and energy for experimentation. This balance keeps your work rooted but evolving.
We also discussed how a painting often moves from semi-abstract toward tradition—starting with Cézanne-like flat planes, then gradually building toward the modeled form and quiet clarity of Chardin.
Technical Tips
When working with a palette knife, avoid using any medium to thin the paint. Keep the paint thick and direct for the knife to work effectively.
Neutralize a strong warm tone, like Cadmium Red, with Raw Umber instead of Black, which would cool it too much. You can glaze with Cad Red too, just keep it very thin.