How I paint in a cafe by Andrew Judd

[andrew judd]

Thanks to everyone who have encouraged me to post a demo here.
I especially want to thank John Cox for his great posts and inspiring me to try the same thing... see his How I paint thread at.. http://www.wetcanvas.com/forums/showthread.php?s=&threadid=327977
I have taught at art schools and privately over the last several years and like John I am trying this on the internet for the first time. I am happy to have questions and am open to suggestions as I post and this will be a learning excersise for me too.
So down to business.... here is a picture of my portable "studio" This is my smallest paint box ... an old cigar box. I got the box for free and paid less than a dollar for studio tacks and paperclips to set up a working "pochade box"
For the cafes I work light and portable. I sometimes take My open M box .. http://www.openboxm.com/ ..with a tripod when I work a little larger ( 9 x 12 inches) My cigar box is for tiny paintings ... studies really.. and they are aprox 5 x 7 inches. This box holds my paints.. medium, brushes and palette knife.

http://www.wetcanvas.com/Community/images/19-Mar-2006/74910-IMG_0010.JPG

I can turn my wet painting around when I'm done and the red paper clips you see hold the surface away from the inside of the lid so my painting isn't ruined. I will describe my medium paints and palette in detail in the next post.

Please bear with me while I take you slowly through my posts... I paint much faster than I post!

http://andrewjudd.blogspot.com/

[Keith2]

Andrew, do you ask people's consent before painting them ?

[andrew judd]

Hi Keith.
I have never asked anyones permission. If someone looks uncomfortable I wil paint the areas around them first and wait till someone else comes along. The cafe seems somehow like a stage to me. When the right person shows I paint them in place. My paintings usually are not so detailed that a person would say "that is me" so I think I'm pretty safe there.

[samhill]

Thanks to everyone who have encouraged me to post a demo here.
I especially want to thank John Cox for his great posts and inspiring me to try the same thing... see his How I paint thread at.. http://www.wetcanvas.com/forums/showthread.php?s=&threadid=327977
I have taught at art schools and privately over the last several years and like John I am trying this on the internet for the first time. I am happy to have questions and am open to suggestions as I post and this will be a learning excersise for me too.
So down to business.... here is a picture of my portable "studio" This is my smallest paint box ... an old cigar box. I got the box for free and paid less than a dollar for studio tacks and paperclips to set up a working "pochade box"
For the cafes I work light and portable. I sometimes take My open M box .. http://www.openboxm.com/ ..with a tripod when I work a little larger ( 9 x 12 inches) My cigar box is for tiny paintings ... studies really.. and they are aprox 5 x 7 inches. This box holds my paints.. medium, brushes and palette knife.



I can turn my wet painting around when I'm done and the red paper clips you see hold the surface away from the inside of the lid so my painting isn't ruined. I will describe my medium paints and palette in detail in the next post.

Please bear with me while I take you slowly through my posts... I paint much faster than I post!

http://andrewjudd.blogspot.com/

Fantastic, Andrew....really looking forward to this....thanks so much!....

[ChuckL]

Hi Andrew...
I just wanted to let you know I'm watching with great interest!
Thankyou.
...chuck

[andrew judd]

Here is the second post for this demo.
I am showing a photo here of my palette and basic colours I use.
I have a small container of FRESH and CLEAN odourless turps.
The little metal cups both hold Walnut oil.
I sometimes use stand oil for a little thicker aplication but I find the walnut oil drys to a less shiny and more consistent finish.
I only use the Walnut oil when I am painting somewhat thicker ares of paint over thinner areas ... the old rule... Fat over lean. I find if I want to lay a clean stroke of colour over another a touch of Walnut oil helps when it is mixed evenly into the colour applied on top.

http://www.wetcanvas.com/Community/images/19-Mar-2006/74910-IMG_0017.JPG

My colours are as follows from right to left...
1.Titanium white (in this case Amsterdam Paint) I like to use Permelba white as well when I can get it. I usually order it by the case when I'm in Canada.

The rest of the colours here are all Old Holland classic paints. Expensive but beautiful intense colours I must say. I also use Winsor and Newton colours interchangeably.

2.Cadmium yellow lemon
3.Yellow ochre light
4.Cadmium red light
5.Alizarin crimson lake extra
6.Cobalt blue
7.Ultramarine blue deep
8.Transparent oxide red lake

I used to mix a warm and cool grey but have stopped doing this recently in favour of mixing more colourful grey areas.

I am using a strip away palette for the cafe works at this size. When I use my open M box I just carry wet colours ready to go in palette area in the box. The less time setting up the better when you are on the fly.

All of these items take little space on a cafe table. I still have room for my coffee and dessert!

http://www.wetcanvas.com/Community/images/19-Mar-2006/74910-IMG_0018.JPG

[Visualone]

Andrew,
I am so glad you are doing this. I truly enjoy your work and love your idea of painting in cafe's. It's going to be a treat to watch you do it.
Thanks for doing it. I know it's going to be a wonderful experiece to learn from you.
Go to it!:thumbsup:

[Visualone]

Andrew,
I am so glad you are doing this. I truly enjoy your work and love your idea of painting in cafe's. It's going to be a treat to watch you do it.
Thanks for doing it. I know it's going to be a wonderful experiece to learn from you.
Go to it:thumbsup:
Visualone
www.johncoxfineart.com

[lonestar]

This is great ~and ~I feel as though I have a front row seat! Maybe I'll order a coffee :)
Thanks Andrew!
Dawn

[stapeliad]

Is that Alizarin crimson on the coffee mug?

:D

This is really cool. Thanks for this post.

[Donna A]

Ever so much fun, Andrew! Thank you! I've enjoyed my little digital camera in a restaurant, but never considered painting there. LOL! Wonderful! Donna ;-}

[artistmama]

watching with interest Andrew! thanks for sharing!!

[CareyG]

I wanted to share some thanks for this, as well, Andrew, I love your cafe paintings!

~!Carey

[andrew judd]

Thanks again everyone for the encouragement. This is definitely a lot less nerve wracking than the lectures I do at OCAD in Toronto Canada when as many as 60 students are watching a portrait take shape. The challenge writing this post seems to be finding the right words to say simply what is most important... I digress already!

Here is the next post.

I am showing in the next two photos my brushes and other painting tools.
I've tried so many different brushes over the years from the cheapest fall apart 50 cent types to the finest (and very expensive )Winsor & Newton Series 7 sable brushes. I have one conclusion...
Use Good brushes!
The question is always.. What is a good brush?
A good brush for me is one that behaves in a predictable way. Sometimes I find a brush that wears down a little to the point I can make nice textured passages. I have other brushes that keep a sharp chisled edge... and others that come to a perfect point.
I have fought too many times to get the drawing right... the values right ...the colours right and that last piece of desert in my mouth to try and fiddle with my brush coming to a good point! A good brush loads well with paint. A good brush is as important as good paint and CLEAN TURPS.
When the tools are right for the job ... the job is so much easier (or perhaps I should say you have a fighting chance).
Imagine a musician sitting down to a piano that is out of tune... they are defeated before they begin.

I know as a young ... hungry art student I couldn't afford the very best .. but I got the best I could afford.
Sadly ... I didn't know much about brushes or colour or canvas then and I bought some very strange things indeed. I still keep a few paints from years ago because the names are so weird!
I will discuss colour in more detail later.


http://www.wetcanvas.com/Community/images/20-Mar-2006/74910-IMG_0019.JPG http://www.wetcanvas.com/Community/images/20-Mar-2006/74910-IMG_0023.JPG

The white brushes shown are synthetic from Boesner in Vienna. ( http://boesner.com/index.htm ) They are firmer than sable .. hold their shape better than bristle but hold less paint than either sable or bristle. When I am painting small I find I need brushes that give me more control over my drawing with smaller shapes to deal with. When I paint larger (up to 6 x 6 feet) I can get out the big bristle brushes and lay the paint on nice and thick.
The two yellow brushes are old bristle brushes and the names are worn off. They are cheaper quality brushes and I use them for quickly mopping paint into an area.
My favorite bristle brushes are Langnickel. Also I have a set of Raphael bristle brushes that have served me well for years.
I use flats... filberts and brights. (I dont usually use filberts in the cafe... I find the flats give me better control over architectural features.)
The other two important painting tools are a good palette knife and a strong cotton rag!
The rag serves well for wiping away passages I don't like (mistakes) and for applying textures and blending now and then.
The knife is a new paint tool to me in some ways... I took Richard Schmid's advice and am using it more and more for razor sharp edges and laying in large masses quickly.

I also remember reading somewhere Sargent saying you should use a brush that feels just a little too big for the job at hand and I must agree. I think this forces simplification of shapes and values without a whole lot of blending.

The second photo shows how I hold my brushes and a rag for cleaning as I go. That leaves my other hand free to paint and sip coffee.

[andrew judd]

Here's a photo of the cafe. I should have taken a shot with more of the window but between shooting photos... setting up my paints and eating apple strudel I didn't think of everything.

http://www.wetcanvas.com/Community/images/20-Mar-2006/74910-IMG_0006.JPG

For this demonstration I am painting a view I have painted before. I know I will be relatively unobstructed and the light was cool and consistent. This cafe also has some nice greens and yellows to work with.

The waiters know me there and I feel comfortable. Incidentally I have never been told to leave ... I did have one concerned customer one time ask me if I was making a bomb as he watched me set up. I assured him I was harmless in my best broken German.

I have had so many amazing things happen in the cafes as I paint! I have had several people (including the waiters) buy me a glass of wine. I've met artists from all over the world. I've had curious onlookers ask about prices and where I show .. and I've had the odd person sit immediately in front of me blocking almost my entire view and they never even notice me.
I wait patiently till they leave and continue on painting if the light hasn't changed too much. After all I'm in their space too.

A camera would seem easier I'm sure some must think.. but there is no better way to paint from life than to paint from life! The colours are there in truth.. the values are right and the atmosphere of coffee smells ,cigarette smoke, rustling of newspapers and chatter of cafe patrons seem to add an exciting importance to capturing it all in paint.

The cafes in Vienna are a world unto themselves. People come and go all day long and some folks sit in the cafe for hours. The tradition of giving a glass of water with your coffee (or melange) as they call it here is the official welcome to stay as long as you like.

No one brings a bill unless you ask for it and sometimes the wait staff are nowhere to be found when you do want the bill. Many famous artists have painted.. drawn and written in the cafes here and sometimes I feel the remnants of nicotine from ancient artist's cigars must cling to the ceilings.

Okay ... sorry for the small novel but painting on the spot is like nothing else I know for excitement and growing as an artist and a painter. I really encourage anyone to try it a few times and not be afraid of making mistakes in front of others.

[Mike Finn]

Okay ... sorry for the small novel ...........


You will I am sure get no complaints :) It is these small insights from Artists like yourself, John, Larry and many others that are so valuable.

In appreciation
Mike Finn

[antgeek]

this is a real treat, thank-you for sharing the fun with us! i feel a definite flavor in the cafe, inviting and warm. will definitely be watching this demo develop.

[Helen Zapata]

What FUN this is! Thanks for bringing us along as you paint in the cafe! I've done a great deal of drawing in coffeeshops and restaurants, but it never even occurred to me to actually set up and paint!

How funny about the bomb question. When hubby and I were on vacation a couple of years ago, he was setting up his binaural microphones on the balcony of our hotel room so he could record the sounds of the ocean through the night. The lady on the next balcony asked if it was a bomb. :rolleyes: Like someone WITH a bomb would actually SAY so!

Helen

[Laraine]

You will I am sure get no complaints.

I'll second that. Andrew, your writing and photos are funny and informative. Cafe life looks very appealing. Thank you for putting the time in to share it and your painting process. Looking forward to the next installment.

I also remember reading somewhere Sargent saying you should use a brush that feels just a little too big for the job at hand and I must agree. I think this forces simplification of shapes and values without a whole lot of blending.

I sort of reprimand myself for doing this so it's nice to elevate it to a good practice. Thanks!

[gaugin]

No complaints, about your musing. In fact you've drawn us in further with your words. And now, your cafe must live up visualy to such romantic verbal.
Which I am confident, you will.
JS

[CareyG]

Andrew--I agree, I love reading your thoughts!

I just had to pop in to tell you that you've inspired me. :D

I've thought about getting together a really simple setup to paint on location, but always put it off. I was excercizing this afternoon, trying not to *think* about the fact that I was excercizing ;) and I was musing on this great post of yours.

Suddenly I couldn't wait to make a little setup of my own! I did wait til after I finished excercizing, however.

I won't hijack your thread here, but I'm about to take some photos and I'll write up a new thread about it...I just wanted you to know I was inspired. :wink2: Thanks!

~!Carey

[andrew judd]

You are probably starting to wonder.. When is this guy going to paint?
here we go.
My approach in this painting is wet in wet oil. I start paintings many different ways and maybe that is a new thread another time but I find this particular approach quick (usually about an hour to an hour and a half) and it also captures the atmosphere quickly.

I start by measuring with my brush held arms length in front of me ... and make sure my major shapes will fit on my little panel.

The way I measure is one to one ...and really this way of measuring deserves a whole thread on its own... in the future.

( the panel in this case is masonite with canvass glued to it a commercial product available at most good art stores)

I mix a warm colour (yellow ochre and transparent oxide red with a touch of white) that looks similar to the largest area in the painting and lay in it in a mass leaving the canvass white in the window are where cool tones will prevail. This stage is important because it sets the overall colour and mid values needed to paint in to later on.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0025.JPG

The next step is to quickly place with a clean brush the cool tones in the window area. Cobalt blue and titanium white... a touch of ultr blue. The paint at this stage is heavier than a wash!! I don't like to have turps running all over the place unless there is some special reason for it ( like paintings of water or more transparent objects)

The paint should be kept to a minimum of mixing to keep it fresh and I like to mix my colour on the palette before it makes it to canvass.

I constantly clean my brush between applications and even then still end up with some old colour entering the mixes.

As you apply subsequent layers of paint over top of this background colour the under paint comes through a little and creates a natural harmony. ( Andrew Loomis discusses this technique in his Creative Illustration book)

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0027.JPG


The next stage is softening the edges and getting rid of white patches. This looks like mush at this stage but then the fun is just about to start!

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0031.JPG

[andrew judd]

Now I measure very carefully and start to place the focal points and details in the most important areas. The focal point needs careful drawing and colour consideration. Look at values. SQUINT .. to see simple value shapes and place them carefully.

By this time the caffeine from the coffe has kicked in and my hand is shakier than it should be. The temptation to paint quickly must be fought back because... this is so much fun!

My old boss Bill Biddle used to say... "Andy... SLOW DOWN .... AND SPEED UP!!" It took me years to understand this.
If I work carefully and accurately I don't need to re-paint areas and make corrections. Every shape placed correctly shows you where the next one belongs.

Sometimes it even works!!
I know Richard Schmid is a big supporter of this working method. His book ..Alla Prima ... is worth every nickel!

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0035.JPG

I am building the focal points more here .
Incidentally the focal point is your choice always! I find it is the place my eye is drawn to naturally in a scene and usually (not always) contains the sharpest edges.. most value contrasts and intense chroma. I also find the shapes in the focal point area tend to be more interesting or have some variation that sets it apart in some way. A change in visual rhythm perhaps.


http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0038.JPG

[andrew judd]

I am now painting outwards away from the main focal point.. finding other ares that need careful attention to drawing... the chair and table... the simple masses around the window and so on.

I normally am ready for another coffee at this stage and sit back for a moment to look at progress. I ask some simple questions.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0040.JPG

1. Is the composition what I want?
2. Are the values right?
3. Is the drawing accurate?
4. How much further do I need to go to capture the essence of the scene?

When I paint.. I sometime imagine I'm looking through a camera lens that is slowly being pulled out of focus. The focal point is clear and as I paint away from it I have softer edges and larger shapes and leave the focal point as a detailed area.

After all that is the way we see.. so why not paint this way too? This wet in wet approach really helps to get a beginner artist away from painting up to edges. Look at Rembrandts work and all the lessons are there!

I didn't start with a pencil drawing.! I just kept measuring carefully and placing and correcting as I moved along.
Learning to draw with the brush is a challenge initially but it is a great way to get away from those pesky hard edges.



Now I move quickly... the light in the window is changing.. the cafe is getting busy and the people I'm painting are leaving.

I place the simple shapes of objects around the focal point.... a picture frame on the wall ... the light above their heads.. the pole that holds the drapes.. and so on.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0046.JPG

I am also frantically shooting pictures as I go and the wait staff are starting to get concerned... they haven't seen me taking photos before. The other customers are starting to hide behind the coat racks and there is a tension in the air... I'm wondering if someone has called the police as a siren stops close by..
I have visions of men in white coats dragging me out kicking and screaming while I try to explain I'm a harmless painter... I'm doing this for wet canvas....


Just kidding... all is calm and apart from the changing light I am content.

[andrew judd]

I should mention... you've probably noticed anyhow.. I am painting my darks and lights into a middle value. I find this keeps me away from placing false accents ( or my darkest darks and lightest lights ) too quickly. The only exception to this here is at the focal point where I have established close to the full range of values .. which gives me a way of comparing every other value in relation to them.

I use a little Walnut oil when I am painting lighter colours over darker ones in the traditional method of "fat over lean". I sometimes need to wipe an area with a clean brush to place a dark accent in thinly. I am not overly concerned with this however as it is Alla Prima and all drying at the same speed.

Here's my palette... to this point.... messy and too full of mixes. When I use my other boxes I scrape my palette clean now and then to help prevent muddy colours. Using a peel away palette has the advantage of throwing the mess away but I don't often scrape them... I could I suppose now I think about it.

The textured area in the paint is where I collected some paint on my pallette knife to paint a sharp edge on the tube holding the drapes.

I work with a "warm and cool" of each primary. If my light source is cool.. as it is in this painting I try to keep my shadow areas warmer in relationship. Seeing this takes some practice and painting from life is the best way to practice.

I mix my.. "blacks" or very dark grays from ultr blue .. aliz crimson and transparent oxide red combinations.
I paint thicker light values and thinner darks.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0058.JPG

[andrew judd]

Here is the finished painting.
I took the first photo in the cafe of it and then another at home under correct light.
The incandescent lighting in the cafe make the painting very yellow and warm (maybe that is nice too) but the reall colours are cooler and show the true painting as it looks.

here's the first photo...

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0054.JPG

Here is the better photo with true colours... I also added a few accents in the studio as you can see.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_5.JPG


This show the size of the painting compared to my keys!

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_8.JPG

[andrew judd]

I have enjoyed this process and have learned a lot about organising my thoughts for a demo like this.

I also realised I can't spel :rolleyes:
I sure appreciate the positive feedback and good comments. Other artists have shared so much with me over the years and I feel indebted to do the same with others if I can.

We are the lucky ones doing what we love to do!
Some people never know this in their entire lives.... imagine!


I am sure I must have missed a dozen points so I'm happy to take questions.

I am painting outside a little now as the weather warms so please be patient with me replying to you slowly.

Here is another tiny cafe painting done the same way as the demo.

http://www.wetcanvas.com/Community/images/21-Mar-2006/74910-IMG_0071.JPG


I will be posting a whole new page of paintings of cafes and other things on my website as well (what's on the easel section) so you can see many more there.

Cheers... Andrew Judd

www.andrewjudd.com
http://andrewjudd.blogspot.com/

[Helen Zapata]

ABSOLUTELY WONDERFUL! :clap: :clap: :clap:

I think this was one of the most fun WIPs I've followed. I feel like we've been sitting next to you in the cafe and looking over your shoulder. I love the scene, love your wonderfully loose style, and admire your nerve!

The painting came out great! I completely forgot how tiny it is until you showed it next to your keys. Unless you have REALLY BIG keys! :lol:

I'm going to go rate this thread with 5 stars as soon as I send this off. Thank you so much for taking the time to share with us!

Helen

[andrew judd]

Thanks Helen! I'm glad you liked my first ever WIP.
I am pooped out from typing.... I think painting is far easier!
My keys really are normal size..

I have just posted my new page of images here....
and maybe this is a good follow up where you can see many cafe paintings... and other images too.

Cheers... Andrew

http://homepage.mac.com/andrewjudd/PhotoAlbum23.html

[lonestar]

:clap: :clap: :thumbsup: :thumbsup: Thanks Andrew! Lovely work!
Dawn

[LarrySeiler]

excellent...these smaller sizes fit right in with the small stuff incidental format.

There is much to be said about learning to trust the eyes, squinting...seeing shapes, color, value and just put it down. One can cover a lot of ground quickly...but it takes experience, time, confidence. Of course...experience comes with the doing...and that means more than getting one's feet wet at the shore's edge!!!

Lovely lovely lovely...
wips are great for showing what can be done...and getting others to ask an accounting of themselves as to why they aren't doing more!

Excellent Andrew! Now this is what I'm talkin' about right here!!! :D

[Laraine]

and getting others to ask an accounting of themselves as to why they aren't doing more!

plenty of that happening where I am! Andrew, your work is very inspiring. Thanks for articulating a response so well, Larry. Thanks for being so brave, Andrew!

[Tripod]

Smashing WIP thanks Andrew. Fascinating watching and learning.

The question I had brimming all the way through was answered when you showed your keys, as I must admit I merely scanned the first post which actually stated the size.

[Visualone]

Hi Andrew,:thumbsup:
BRAVO!!! Beautifully done and a wonderful finish. Love the painting. I really like how you showed the painting in both lights. I was wondering if the lighting in the cafe presents color problems at times for you. I know you talked about the light changing how does this effect your color perception? I know when I am on site I have to work fast because of the rapidly changing light in the late afternoon. I try to set up in a place that is indirect light, but in a cafe with the incandesant light and the window light I would think this could be a problem, seeing color correctly. Small paintings help, but even so....
All should try this (I'm going to) and learn. Andrew has given us all an excellent "road map" on how he does his wonderful paintings. Again BRAVO!!!
Really enjoyed this,
Visualone
www.johncoxfineart.com

[Robin Neudorfer]

As a current student of color, I was quite inspired with this WIP. Thank you so much for giving of yourself to this project. May the light hold a little longer for you.

[andrew judd]

I was wondering if the lighting in the cafe presents color problems at times for you. I know you talked about the light changing how does this effect your color perception? I know when I am on site I have to work fast because of the rapidly changing light in the late afternoon. I try to set up in a place that is indirect light, but in a cafe with the incandesant light and the window light I would think this could be a problem, seeing color correctly. Small paintings help, but even so....

Really enjoyed this,
Visualone
www.johncoxfineart.com[/QUOTE]


Thanks John. You inspired me to do this in the beginning!

I do struggle with the colour perception at times. I tend to paint intentionally with cooler colours when I am in incandescent lighting stiuations. I have found however that if the VALUES are correct then the colours wil look fine when the painting is seen under different lighting conditions.
I like finding a place in a window where the light is diffused or reflected from a building nearby on an overcast day. Unfortunately that is not often the case so I just make the best of it.
I have painted in so many different situations I find the cafes fairly forgiving. I remember painting at the Royal Winter Fair in Toronto Canada and I was surrounded by cattle as the farmers walked them by. I had to move my easel quickly a couple of times!

Dangerous work!! this painting business indeed!!
Cheers... Andrew

[Rosic]

Excellent WIP demo Andrew... would make a great WC article... hint... hint!

[onefinepint]

Thank you Andrew. Great inspiration here. I imagine painters all over the world flocking to the cafe to get some painting in. I can't wait. Maybe I'll be one of them. :eek:

[Dublinah]

very cool to watch this unfold.
thank you so much for sharing and inspiring :thumbsup:

[Visualone]

Andrew, Thanks for your kind words, but this is your WIP and you did a great job with it (I knew you would).
I sort of figured that would be your answer (on color perception) but was not sure.. You have just confirmed what i have told students and anyone who asks that if you get the values right the color will pretty much take care of itself.
Thanks again for this and it really is a "keeper".
Visualone
www.johncoxfineart.com

[rosebard]

Wonderfull presentation indeed Andrew. Thank you very much. Lots of other lovely paintings you have on the website. :)

[Julianne]

Wonderful little painting and wonderful WIP. Thanks so much! I would consider renaming it "Taking the Mystery Out Of Painting In Cafes" :D

Just lovely, not to mention inspiring! I started doing some conte sketches at a weekly music gig I have in an upmarket cafe - maybe I should take a few oils in one nite.... it's dark in there, though. I often can't tell what color I'm using, I can be surprised to find out in correct lighting that I've used pink instead of something else for instance, but it works cos it's the right value so that kind of lighting condition is very helpful in seeing the correct values more easily. Mixing color could be more of a challenge, though, hehe.

Thanks again!

Julianne

[Elannie]

Andrew ~ your demo is wonderful and inspiring! Thank you for sharing it with us!

[Tripod]

Now watch coffee and pastry sales boom world wide.

[romans611]

Great demo. Very Informative. I will incorporate many of your ideas into my paintings.

Bob

[antgeek]

thanks for showing us your process, love the finished work as well. feels like a big painting, but in a small space. very painterly!

[gaugin]

Felt like I was sitting there enjoying the coffee too.
Great insights, and beautiful results. Your thoughts on value, are just what I needed to hear.
Thanks so much.

[andrew judd]

Thanks again everone for your encouragement.
I must do another one soon.

Cheers... Andrew.
www.andrewjudd.com
http://andrewjudd.blogspot.com/

[manyfeathers]

thanx! Your demo is entertaining as well as educational! :)

[CareyG]

Andrew--I'm curious (and I apologize if you've addressed this somewhere already and I just missed or don't remember, which is all-too-likely). You seem to do these a lot and you mentioned, I think, waiters knowing you, etc. How often do you paint in the same cafe? Do you repeat views with different lighting conditions, etc?

I've been considering local areas that I have--and I'd suppose that there are more places than I'd first thought, especially once I really look around--but even so, I guess I worry about running out of places. :p Not exactly something that should concern me at this point, haha, but...I was wondering.

~!Carey

[andrew judd]

Hi Carey.

I do paint often in the same places.
I do one or two cafe paintings per week. I find I move around in the cafe and Haven't run out of views.
There are many cafes here so that is no problem.
I suggest you find one or two in your area ... get comfortable and just try it.
Painting .. sitting outside at one is nice too.

Anything goes!!!

Good Luck.... Andrew

[Helen Zapata]

Andrew, I just wanted to say that I looked at the other cafe paintings on your site. They are just wonderful!

I can't imagine the cafes here allowing people to sit and paint. They want you to come in and go out FAST. They get grumpy if you linger over your coffee too long. One waitress told us that they hate smokers (such as my hubby and me) because smokers like to linger with our cigarettes and coffee after eating.

Helen

[andrew judd]

Hi atapaz.
Most people smoke here so you would feel at home. The smoke adds a yellow colour to the walls.

[andrew judd]

I thought I would add these images to show another approach to painting I use quite often.

I start with an abstract painting as a "ground" This is usally paint left over from a days session and there is good colour I don't want to waste.
An artist friend of mine in Vienna paints this way and it is a nice way to break up the surface with rich colour you might not use otherwise.

The purists get a little nervous about this method because oil paint becomes more transparent over many years and the underpainting can show through.
I like the abstact qualities this method produces and I gues I'm willing to sacrifice the image a little over time if the immediate effect is pleasing.
Who knows ... maybe time will even improve the image as layers underneath show through and create even more abstraction!

here's the first stage and I paint directly over the (very dry) abstract background using walnut oil generously mixed into my paint.

http://www.wetcanvas.com/Community/images/03-Apr-2006/74910-IMG_0071.JPG

here is the same taken a little further...
http://www.wetcanvas.com/Community/images/03-Apr-2006/74910-IMG_0079.JPG

and again...http://www.wetcanvas.com/Community/images/03-Apr-2006/74910-IMG_0086.JPG

and then the final piece...
http://www.wetcanvas.com/Community/images/03-Apr-2006/74910-IMG_0103.JPG

[CareyG]

Oh wow, this is very, very cool!

Eh, purists...never trust them, myself. :wink2: And I'd hardly believe that your paintings would suffer such a problem, anyways--not much, at least. You tend to use such dark, rich color.

Andrew, I am envious at your ability to create such dramatic and intriguing compositions...

~!Carey

[CareyG]

Whoops! Double post, sorry!

Since I'm here, though...I'll also say that I love your colors, too.

~!Carey

[Marysa]

Thank you for showing us. Beautiful color:clap: :clap: :clap:
Mary

[andrew judd]

Thanks Carey for all the compliments. I have made many failures too! I'm still trying to make my colours more interesting.
I checked out your art agent and the images are great. Isn't the net a great thing!!?

Thanks Mary. I always appreciate comments. As you know some days every artist needs a nod from their peers.

Cheers... Andrew

[Weezy]

Andrew.....this is an extraordinary thread. I normally haunt the CP Forum, but work in oils from time to time. Might I be allowed to make a suggestion? Is there a way to copy and distill all this info and for you to publish this? This is a wonderful article, the type Steven Dougherty, at American Artist Magazine, might be interested in. In fact, if that were not feasible, this would with some fleshing out, make a GREAT DVD for your own product. It could be totally marketable off your own website. This is a great tutorial. Thank you.

[k4pka]

Great thread andrew! I also love Schmids two early books!

[Johnnie]

Hi Andrew

Just a superb demo.. Really great and I have learned quite a bit from reading this posting..

One thing I would ask of you however is if you could do a thread on Measuring.. and what technique you use and application etc on measuring.. Thats something that I really lack for life painting.. I have only done a couple and have backed off due to my measuring being so terrible..

I would like to have a look at your method if possible..

Thanks so much for doing this demo.. Very nice of you..

Johnnie

[andrew judd]

Hello Weezy.
Thanks for your kind words and suggestions. I have been thinking for some time now of writing an art instruction book. I realise there are so many great books out there already but I always think there is room for another point of view or perhaps a fresh way of looking at some of the same old information.

I am also hoping to start some workshops and do a little teaching when I return full time to Canada. Between workshops and wet canvas this a great way to get some feedback and encouragement from good folks like yourself. I will consolidate some of the information and put it all together in an easy to read... or easy to watch form in the near future.

On that note...
Johnnie ....I will post a thread soon on "How I measure" when I'm drawing or painting.
Generally this is one of the least used and most valuable tools an artist can use to make sure his drawing and proportions are absolutely accurate!

There are some good instructions in the Andrew Loomis book .. "figure drawing for all its worth" Loomis calls this the visual survey procedure.
This is an excellent way to measure but I find many art students have difficulty grasping it right away.

I hope the way I use will help others the way it helps me.

More later.... Cheers.... Andrew Judd

http://andrewjudd.blogspot.com/