Still life with orange - a painting a day

above, a revisited one oil on linen quite close to finish except maybe for a dot or two on an edge or something
#3



Did this one above as a recapitulation of the the one below., a more loose work - happy with this one too -
often it is used to almost loose th eedges to the background, I had white paper inside the box so it reflected some cool light back,



appr 10x12 cm oil on canvas paper

Been a while since I painted the orange and I think this one I got fairly ok. I began it as a one session work and then went over it again next day

Napkin ring sketch study

Above added a slight scumble with white over the ground



Ok later on the ooutside light was goneand I lost the position of the ring I realized what I already knew that the darker reflection came from paint on the board it was standing on, so I just decided for going through it with a new set up after I have changed around bit too much. the direction of the shadow was changed and reversed (lighter than thedark on thering that now had a dark edge. the reflective surfaces can be tricky - keep to the exact same setup and position of viewing.
Could be a good reason to work from a photo -



appr 13x13 cm oil on canvas

A little one more today, did I maybe invent a new term 'sketch study' .
I amdoing a little more about it post later today

wintersign 2 still life practice

appr 14x17 cm oilon canvas

one of the things in daily painting according to the concept I work by is that within the limited range of time as to begin and finish a work in one session, gives me the possibility to discover many things in painting and maybe do something I would not else have done.

Everything here turned to grey, but there was something about it I gave it a chance - I might do some others with this vase and winterberries so check out later

still life practice

appr 10x10 cm oil on papercanvas

still life with napkin ring and pencil

appr 9x10 cm oil on canvaspaper

The grey sunday afternoon light made a nice set out for this little study done from life -
maybe there is just a few minor spots to correct - I lost the set up cause I wanted to look up a word in the dictionary (the red shape) and then later I could not find exactly the same position and light so I am guessing about it, these set up with reflections the slightest change of direction and can change quite much



I might do another composition with this

Apple on a blanket

appr 10x13 cm oil on linen

fruit practice

appr 8x111 cm oil on paper

this practice is about the alla prima way of working - begin and finish in one session. the lemons was improvised the sweet puff also, I dont know the english word and the jelly was by direct observation.



appr 8x10 cm oil on canvas

this happens now and then, I begin to test some ideas on a little piece of canvas and it turn out ok - well I think here maybe it canbe framed as it is or else I can add a little piece mounted to a board,


appr 5x7 cm oil on paper

swift sailing

appr 5x10 cm oil on paper



appr 6x8 cm oil on masonite

ok a little one here I worked with it before and the refr photo is not so good - so I thought maybe it could work in a minimalistic way - just again that boat shape has to be just right. I got the colors a bit too light at first, then got them keyed down more and the sails could take some color an still stnd out from the sky -

still life with marble practice study

appr <9x11> cm oil on masonite

Just more practice and study, good to stay with it and work with it in many ways - I am not going to have all these works up permanently it will be too much. I was just after the simple statement of it and could not resist ofcourse to refine a bit.

It is quite much in place so it could be finished - - -

Paint and brush - study

appr 12x16 cm oil on masonite board

Seascape Oeresund

Above I decided a change more and worked the sky a little more, so think it is better in balance

I consider to make a repainting based on this



above, revisitited 'Sailing Oeresund August' appr12x17
the colors are just about right . I worked with the beach to get the impression of dried seaweed and sand the sea is more integrated and the blue of the sky I worked more with too - think the balance with values are better here.



appr 12x17 cm oil on masonite

Still life marble

and after some more work - everything else than the greenblade has been worked with - it looks like worki with the red/orange in two rounds over a dark works ok
>= 10x13 cm oil on masonite - NA yet

Looks like a little serie, been thinking about a title like 'marble in a lock/luck of light ' or I think I stick to the more dry version marble #2 - black serie sept 2009 we'll see -
this one was done in another way than the one in the previous post, which was done in one session direct one layer a slight touch up next day - its a lot of brush work, I use sables and manguster mostly brights/short filberts and a little round sable for some details - I do many details with the shorts as well - a nr 2 worn can often do that fine, else I turn to the round

This one was done first with black to map shapes and some tonal relations. I dont why I did it here, it just came like that - they did so in old master time divided the tonal (dark light values) and chroma work - nice to begin next day and have the construction in place.
It gave a little problem as the grey for the red shape was rather dark - I was aware, as I dont use the very opake cadmiums and the organic azo colors need the support of some light from the ground, but as the red actually should be dark I took the chance it would work, well I had to push the impasto a bit, and it went ok here, but it is one of the things I have left - you can only use an azo pigment as a cadmium pigment to a certain limit - so when I underpaint monochrome I must think of the chroma too - well in the case of tints (e.g a hansa yellow + white) it is not so serious as the white helps

Still life

the photo is still not the best the contrast is difficult to get right
here I cant do more about it or maybe I could


a slight more change is up soon


I had problems with the varnish I used damar - ittook days and days and I decided to take it off which meant shortly said I have had to go through and work the background and foreground again, I dont if it was good or bad I had to use more solid paint on the foreground instead of the glaze like quality (I could not restore that) well I find this works better. not many problems with the marble itself - just a little lift up og highlight the dark was painted darker -
The blue got a slight bit lighter on this photo




Marble light and chroma, appr 10x13 cm oil on masonite board

Paint tube with grapes

appr 12x14 cm oil on masonite board

Paint and brush

Above, I think I will call this the final - which for me means that it is in place - I might still do a few touchup here and there.
the greys are for me the most difficult to observe, it tricked me a bit as the warm afternoon sunlight is mixed with the blue sky they bothwork at the same time.



Its been a while since I worked with metal as subject so it took a little to get the the scales going, I am more pleased with this one now - there are many more different tones going on now and a little reflection of the red into the ferrule.



maybe I should call it study, did some modification with the ferrule o the brush and the top part of the tube,




and here above after a bit of touch up around



appr 12x13 cm oil on white masonite board

This is one of those where I just painted to see how it work- i used a ref photo cause the light changes too fast(window south) for this kind of work. next day I refined a bit more here and there and painted a bit of details on the tube (so it should be clear its old holland) After some time the bandarole fell down from the top. It could work here I think - i might go over a few spots

Paint tube with grapes practice

appr 10x12 cm oil on melamin mdf board click image for larger view

This was just a little sketch I did as to get an idea about it, I then took it a litle further and had fun with it.
I partly worked from real life and a photo for a possible later work.

fruit still life

appr 9x12 cm oil on board

Above reworked, I went through with more paint and did more about the reflected and highlights, think it got more impact now



Cherries appr 10x12 cm oil on preprimed masonite

Sky study

appr 10x13 cm
a repainted new version of 'clearing up at Skovshoved'

sailing out

appr 8x16 oil oilprimed mdf board

late in the evening I was a bit too tired and then I said are you a daily painter or what.

I have a little oil sketch I did some years ago which I am happy about and thought it could be interesting to use it for a work.
I lost the reference photo, its a view to Tuborg Havn (tuborg the beer and havn = harbor)or just outside it, where they were constructing a new commercial and living place,

Fruit still life

Two grapes appr 8x10 cm oil on linen oil primed

Been a long time I did a work on canvas. In a way I like this less expensive canvas from classens (I think it is) better than the more expensive one in spite its quite rough surface, dont know what it is - for these small alla prima works aiming for high rendering not the best to use, well I think it worked ok and it has its charm.
I did a first work that was almost dried the next day and then went back and readjusted a bit here and there - the colors can change somehow upon drying and it is very clear in one like this. it was mostly the 'bloom' (I think I saw someone use this word) and a bit the stems well and highlight too.

small abstract

appr 10x17 cm oil on board
Just a little one here in line with two previous posts, I think here I got the better of each of the two, one of them was glazed with out white and the other was black + white - here I use both color and white.

There is a little rework of 'Waves'

Study of a smoked herring tail

and here is a little rework




appr 10x12 cm oil on board -

This one took quite some time, also did some work first to establish the color scheme. I began the low part of it with just a grey wash to get the shape right, then laying down the darkest lines, painting the fins, where I used the dark brown to establish the rest of the fish, then worked with the reflection on the shelf and finished with the background.

Light and space

appr12x14 cm oil on board

I just went for getting the main moves trying to keep some control.

Landscape black white

appr 11x11 cm oil on paper

A little testing, I might use this one for some variations - we'll see

seascape with boat - study

appr 10x13 cm oil on heavy paper - sold

the water is a bit more green blue than on the photo and the yellow slightly darker, and I corrected the boat a bit


I am back to using the paper, thought I give it a chance again after quite some time and took it as a little study to see if I could get it working and it turned out ok.
with this one I painted premier coup beginning with a thin white base coat, painting around the boat and mixed some of the greys with the the first yellow tints - applying the pigments to the raw paper, seems to not be so good (pigments get locked in the paper), so for the nest experiment I have given it a light primimg and let it dry through.

Horse in a field

appr 8x12 cm oil on board

The Battle on the ice - a work idea

appr 12x17 cm oil on board, click image for larger view

Most of my daily works here are based on direct observation, where this one came out from trying developing an abstract landscape where the scene from the 'king arthur' movie the battle scene on the frozen mountain lake came to my mind.
its not particular well painted, however I think it works ok and I am happy about how I go tthe movements of the warriors.

Landscape revisited

Castle

appr 12x17 cm oil on board

the boat is a professinal team at Skovshoved marina, a beautiful evening just after a storm


appr 12x12 cm oil on board, evening sail practice at Skovshoved marina

Apple study

appr 12x17 cm oil on board

I have moved more and more away from working in solid paint and let the white ground play a larger role using less white oil paint, It was begun and finished the same day - the background maybe dried so much that I could go over it again.

Blue vase reflections

Appr 12 x17 cm oil on board

monochrome study

worked more on the one below - almost like the flemish technique greys over the underpainting



12x17 cm oil on board
The use of a complete smooth white ground with just one color - - - -
well that is I have worked with a bit of grey on the plum later

blue vase study

thought I work it out more, the setup is changed a little




appr 12 x 16 cm oil on board. (click image for larger view)

- a study in technique and getting the glaze like quality of the vase

Reflections and shadows 2

Appr 12x17 cm oil on board

Reflections and shadows

Appr 10x13 cm oil on card

Maroon vase with daffodil

appr 20x20 cm oil on linen

daffodils - practice study

appr 12x17 oil on fiberboard

Daffodil

appr 11x13 cm oil on masonite

My first daffodil (in my own language 'påskelilje' like easter lilly)
in dailypainters we have a theme day next time called out of the box, this could be one because I rarely paint flowers the dandelion sometimes i tried. about the background had I made it as dark as I thought it should be, it probably had gone darker, so I went a little lighter and it is a bit too light but in away better than too dark - I could try carefullly to take it a bit down - we'll see.

plum next to a new work

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appr 14x 14 cm oil on masonite

I did the oranges first ( no image here) and then went to the plum which came out quite fine, I think, then the orange work was next to it and I tried to use it for the compostion. - I am still considering the orange work, it looks like it will be ok - so might post it later on.

Lake autumn light

appr 8x10 cm oil on fiberboard
started like a sketch, did some adjustment to drawing later and might do a bit more.

quite some months later I post this one below - I began to try and use the sketch for a more finished work. I have learned that though you have a lot of freedom in a sketch, it is still (of course) necessary to obey the principles in drawing and here with respect to reflections in the water - so I tried and make up for it by observing the relations a bit better -

Orange in the marble

Appr 10x13 cm oil on papercard
above 28thsept09 - went over the orange and the ground decided to cut away the rest,



26sept2009 I have reworked this one and post it soon also I cut away something to get the marble better in focus

appr 12x16 cm oil on paper

I struggled a bit with this composition, teh orange fruit competed too much for attention, and the marble was what started it so I lighted up behind orange and dulled the colors which made the marble come more forward. I painted from life and refr photo and I got the proportions a little larger than they should, a kind of study one.

the lines dont look right but it is the photo that does it

clearing up

Clearing up at 'Skovshoved' early autumn, appr 13x15 cm oil on masonite

this one I am getting close to something. I like resistance to my paint but here it is a bit too heavy. composition and colors fine,

Skovshoved is a little area up north with a quite big marina. I am standing just to the waterfont stonefence and on the painting I have imagined that it was not there - just went for this great sight.



The lake below was done much more lightly and still with some impasto here and there, I like more that.
I dont know how much I will post the next week I will dive more into the work on masonite.

Maroon vase

appr 15x15 cm oil linen

plum at edge

8 march
I removed the paint in the plum shape completely and repainted it - that plum color - - -
I let it dry and see what I can do next - think th ephoto shows the light contrast somehow stronger ? might take a new photo


appr 12x14 cm oil on linen

After some time the colors did not work so strong than just after it was painted, so It left me to try and work more with it - - - - - - - -



Here is a second rework below, it approaches the first one which I liked a bit better though this one is interesting too - think the red spot light up a bit more on the photo than it should.

Autumn light

so finally got that horse drawing place. It was a refr photo taken with the mobile camera and I do not have the photo any longer, so I decided to make a drawing with the best of my memory of having observed horses
The colors on this one above are more correct maybe darker



appr 11x13 cm oil oilpaper

Seascape

above seascape 2 oil on oilpaintingpaper



appr 11x13 cm oil on oilpaper
I did this one as a recapitulation on 'Oeresund late august'( which is reserved now) I have done several but this works a bit better, This painting is reserved too untill further.

This photo looks darker probably than the rest on this blog, but I have changed to a lighter screen, which probably more visitors also use to day, I hope to get as many replaced as soon as possible.

Paint tube

12x14 cm, oil on oilpaper

Green earth

after a bit of reworking.

I received a comment on this one posted below, and after some thought about it I remember now I went for not describing the narrow shadowside at all - then again I was not consequent with flatten the light shape, so that part of it got unclear.

I decided to work a bit more with it and think I described the blob better
I had the setup on a board and I use two places for this board one close to me and one a bit away - I remembered wrong and chose a bit away from me and saw the drawing wrong so I corrected and went back to the 'at close' all right messed up a bit, but maybe good the tube got more what it looked liked dirty grey green used tube and makes the front more interesting which I had a s the center of interest.
As it is now the leftside edge is more defined -


appr 12x14 cm oil on oilpaper

I have been busy reworking a couple of my older works
it looks promising we'll see, they could be ok to post now but I will give it some more time. The tube is L&B btw, this one has a nice light hue.

The brush 2

9x13 cm, oil on 'canvas' paper - click image for a larger view.

The brush

22 febr 09, The brush - reworked - finished, appr 8,5x9,5 cm oil on paper

(17 febr 2009
I have decided to rework/revise the absolute last time - I was not sure if the smokey tone was nice after all, so as I was in the mood for it, I had some scales going on on the palette and I sort of just adjusted this smokey tone on the ferrule lifted up the highlight and well think it is a keeper,  here it is above













4 th sept
One thing I have learned is to be careful with say finally when doing a rework.
I think I will carefully say finally here- .

18 aug Looks like the rework/study is going to take some more time I have no idea one day two weeks - I can just say the painting is fine, but I decided to not posting the photo before I am as sure as I can be.
The painting is reserved.





7,5x9,5 cm oil on canvaspaper

Oeresund, late august

I am reworking the little beach, so this is just some temporarely I have set up to work from, I can promise this is the only thing I change.
users with 'dark' screens probably like the lighter one here below


12x16 cm, oil on oilpaintingpaper,
Oeresund, the water between Denmark and Sweden. Will try and make a better photo later.

Small black plum

7x9 cm, oil
In the streets fruit fall down on the pavement from the gardens and I have picked up a good deal just in case. This little one got the case - think it works ok - the photo is not so good as the painting, where the haze is more visible and also a bit more gray-bluish.

Paletteknife-fragment

Paletteknife fragment about 12x12 cm oil on gessoed card, click picture to enlarge

Apple study

Apple study changed 11x15 cm oil on gessoed card. click image to enlarge
The subject for this was study was the valuestructure, I wanted to paint the wall darker and see if It would work. Of course I painted it lighter and the ground plane darker, this happens so easy see image below. I got lost in the picture and forgot what it was about.

So I decided to sacrifice some of the fun brushwork on the ground plane and lower the value of the wall with a bluish grey to represent the light in order to get the valuestructure I want. Here the diagonal is not so strong which make it speak more quiet and less I dont know chaotic maybe, but still has a dark feeling to it. The upper left should have a bit darker value, however think the painting now has a better balance.


Apple study 11x15 cm oil on gessoed card, click image to enlarge

Painting knife 3

Painting knife 8x14 cm, oil on canvas
I did an exercise/study last time. The vase was standing not right (too much to explain)I painted it anyway, somehow it did not work well. On purpose I left a little space between the vase and knife and concnetrated on the knife first. So it was easy to remove the rest, which I decided to do. It was a very valuable lesson for me, so here it is. I prefered the photo by my working light which is daylight temperature, however I can not avoid some reflections.

Tools

Tools, 11x14 cm oil on canvas.
I did this as a combined exercise study continuing to get my new technique working.

Low sun lit -still life

Low sun lit - still life, 11x14 cm, oil on card.

I did some other sketches from life and photo of this one. It was last summer on the most beautiful evening. I just came home with those vegetables and placed them on the refrigerator, where the low sun just exactly hit them.

Paintingknife-2

Sun lit sea

Sun lit sea 15x20 cm
One more landscape from near Hellerup harbour (and the little mermaid)a small blind road to the water. It is very often a beautiful light here and just here. It was those rainy augustdays in the afternoon when the sun came through and flashed up the green sea bottom. I exaggerated the saturation of the green to show this and on the photo it is stronger than painting - could not make it better.