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Pat Isaac
05-01-2007, 07:05 PM
Hi everyone,

I am going to be doing an oil pastel painting from start to finish. There are many ways of doing this as I am sure most of you have learned after perusing the forum and everyone has to find what works for them. most of my work is realism and I use a blended method and that is what I will be dealing with in this demonstration. I like still life and I work from life. I set up the still life in my studio and work from that. I also take pictures of the still life, because often my painting takes longer than I anticipate for various reasons and I have to abandon the set up.
This class will show you my approach and encourage to move on from here.

Enjoy, Pat

This is the image that I will be working from.
http://www.wetcanvas.com/Community/images/01-May-2007/35760-melon_1.jpg

I am using dark blue colorfix paper and will be using these tools.
http://www.wetcanvas.com/Community/images/01-May-2007/35760-tools.jpg This is the color of the paper, but you may use what you have on hand that may be suitable. I like to use something that complenents the image and the colored papers affect the way the oil pastel colors show through. I should show you some examples of that and will put some up tomorrow. I will also be using a variety of Holbein and Sennelier oil pastels.

I started the drawing today on another piece of paper and then I will transfer it to the colorfix. I like to start with an accurate drawing and since I may erase lot, never mind may....I do, so I do it on a sheet of paper that I can erase and when I have an accurate drawing, I transfer it.

I will be back tomorrow to show you the drawing and transfer.

Stay tuned...

Pat

cat1lady
05-01-2007, 07:21 PM
THANKS PAT! I am looking forward to this. I would also like to thank you in advance for your effort.
Katy

Pat Isaac
05-01-2007, 07:24 PM
You are welcome, Katy. Hope it all works out as I may not be on top of every day...a few spaces....here and there.

Pat

CM Neidhofer
05-01-2007, 08:19 PM
This is great, Pat! I haven't used my OP's in ages. I will have to try to follow along with this. Thanks!!

Christine

wildart129
05-01-2007, 08:27 PM
For a beginner this will be a great opportunity to learn the process of oil pastel painting. Can't wait, watching every step. Paint on.:thumbsup:

LJW
05-01-2007, 09:14 PM
Pat, I love the colours in your still life. It will be really interesting to follow along. Will you be mentioning the specific names of the colours you are using? That would be helpful for those of us who use Holbeins and Senneliers. Also what size paper will you be working on? I think I'll trace your image, rather than draw it, if that's ok with you. Jane

nana b
05-01-2007, 11:33 PM
Pat, I'm usually over with the 'dusties' but came over to check you all out. Your thread caught my eye and now I'm going to have sit in on this! It looks very interesting.

nana b

Pat Isaac
05-02-2007, 07:34 AM
Yes, I will be naming the colors as I go along....:eek: I might have to guess at some of the holbeins......That's fine Jane, do whatever you feel comfortable with. I tend to work large, but will measure the drawing when I go to the studio today.

Back later.

Pat

hopalong
05-02-2007, 08:53 AM
Pat, I assume the white pencil is an oil pencil? And are you using the pallet knife to scrape away or blend??? Thanks so much for doing this. I'm front and center of the classroom!

Pat Isaac
05-02-2007, 09:03 AM
Yes, it is an oil pencil, and the palette knife is to scrape away mistakes...:eek: . The other items are different sized tortillions or paper stumps. Sorry, didn't explain that, and I will probably forget things as I go along, but hope everyone will ask questions.

Back later.

Pat

Piper Ballou
05-02-2007, 09:41 AM
Pat, this is going to be great, I may have to make the jump from soft to the oils....
If a newbie needed a set of oils, what would you recommend?
piper

Pat Isaac
05-02-2007, 10:50 AM
I'd probably recommend a set of CrayPas Specialist, as I think these are the least expensive of the artist grade. Some single sticks might be helpful, especially a Sennelier white.

Pat

AnnieA
05-02-2007, 12:53 PM
Pat: This is going to be fascinating! Thanks so much for taking the time to do it. I hope there will be a closeup or two along the way, so we can see how you're actually doing the blending (do you ever use your fingers, or is it just tortillons?)

And I'm glad to see that your demo has interested some visitors from the softie side. :wave: Hi Christine and nana and piper!

I don't know if I can actually do the piece, but I'll be following along and asking questions if that's ok. (Maybe I'll be able to start late and try to catch up, if you don't go too fast...) I know a thread like this must take a lot of time to prepare, and there's all the photographs and all of our questions to answer, so again, please know how much it's appreciated. :)

Piper Ballou
05-02-2007, 01:17 PM
Annie.....I have been eyeing the oils for a while...just do not tell my husband quite yet, he will roll his eyes

I probably will not be able to start until school is out, but I need to get some supplies first....do I need special paper too?
I did check out the CrayPas Specialist...and yes, they are affordable....
piper

reeta
05-02-2007, 02:21 PM
Thanks so much for doing this Pat!! I can't wait to get started! I really appreciate all the time you spend in this forum. I always look forward to reading your C&C !!! Reeta:wave:

Pat Isaac
05-02-2007, 04:22 PM
Thanks, everyone and I will do closeups, and I don't go very fast which may be a problem for some. I can't always get to my studio every day so there won't be any work those days. However, I'll do my best and not be tooo slow. Piper, it would be nice to have a sanded paper or a paper with ground on it, what so you use for soft pastel? For me I need something that grabs the OPs and doesn't have a lot of texture. Hate the holes.
Ooops, I forgot to add the oil smudged fingers.....:lol: next time. Please, please do not hesitate to ask questions.
Here is the next stage. I did my drawing on scrap paper first with and HB pencil and then refined the drawing with an H pencil and erased all the extra lines.
http://www.wetcanvas.com/Community/images/02-May-2007/35760-pencil_sketch.jpg I then turned the paper over and applied white chalk to the background, sort of making a carbon copy. I then turned it back over and placed it on the colorfix paper. I then went over my lines with the H pencil, not pressing down hard as I didn't want to dent the paper. The chalk readily adheres to the colorfix. http://www.wetcanvas.com/Community/images/02-May-2007/35760-white_pencil_drawing.jpg I then went over the chalk llines with a white oil pencil so I would loose the drawing.
I did not put in all the lines of the cloth or all the seeds as I will do that as I go along. What did I forget?

I won't be at my studio tomorrow, so I will be back with color on Friday.

Start your drawing if you can.

Pat

CM Neidhofer
05-02-2007, 04:39 PM
Pat, is the Colourfix really a dark blue...or a medium blue? Doesn't look dark blue on my monitor. I have warm and cool sets of Colourfix. Is it a warm or cool blue??

Christine

Pat Isaac
05-02-2007, 04:44 PM
:eek: I know, it didn't come through as true to color. I'd say it was a warm dk blue. If you go back to the tools image and look at that blue, you will see the true color. Use whatever you think will work for you. Now that I have said that, I guess you should go warm as cool has a lot of green in it and might not mix right.

Pat

AnnieA
05-02-2007, 05:23 PM
Thanks, everyone and I will do closeups, and I don't go very fast which may be a problem for some.

Thanks Pat - closeups will be really helpful! And I for one am really glad you'll be going slow. Slow is far better, imho, because we can learn so much from what others do and the help you offer them. This looks fun already. :)

I do hope to get some blending tips, 'cause somehow my blended areas can turn out dull and lifeless at times, but I've noticed yours always look rich, Pat.

LJW
05-02-2007, 05:39 PM
Thanks for showing us how you do a drawing transfer, Pat. Did you remember to measure the size for us? Jane

Pat Isaac
05-02-2007, 05:48 PM
Yikes, yes I did that, Jane and the size of this piece is 15 x 17. You can certainly scale it smaller.

Pat

cat1lady
05-02-2007, 07:01 PM
I thought I would share my home-made lite box set up.
I decided to trace the photo since it is a class. I don't have a litebox because I don't normally trace. So this is what I came up with.
I used my desk top easel and put a piece of plexiglass on it and placed a light behind it.
I first traced the photo on tracing paper then put the tracing paper behind my drawing paper, which in this case happens to be Aquarious II watercolor paper- I think it's fiberglass. I didn't like it for watercolor but it had an ok texture for oil pastels so I thought I'd give it a try.
Because my easel has a bar across the middle I had to lift the plexiglass to get the middle sections but it wasn't really any trouble to do so.
I used a lilac colored pencil to trace the picture.

LJW
05-02-2007, 07:03 PM
Thanks for the info, Pat. I usually work small, but I think it might be fun to work at your size for a change. I happen to have a piece of dark blue Colourfix I can use. Looking forward to this. Jane

Pat Isaac
05-02-2007, 07:09 PM
What a great set up, Katy. Thanks for all that info. You are ingenious. What is the saying....necessity is the mother of invention.....
Color on Friday.

Pat

AngelaF
05-03-2007, 05:54 AM
Coming in late, nice reference compostition and color. Thanks Pat, this is great. Pulling up a chair, Angela.

hopalong
05-03-2007, 08:48 AM
Pat, I'm following along too. Is this a place to post our stuff as we follow along? At first Ithought I would trace your photo ref. But I think it will be good practice for me to draw it and maybe mess around with compositon.
No matter what speed, this is a great gift for us!! Thanks.
PS are you using ordinary blackboard chalk on the back of your drawing? or pastels?

Pat Isaac
05-03-2007, 09:20 AM
Yes, absolutely post everything here. I actually used a cheap brand of soft pastel, but I have used regular chalkboard chalk too.
I don't always transfer drawings, but thought it would be better for this lesson as I have a ton of lines when I draw and it would be confusing.
At my speed you'll have plenty of time to mess around.

Pat

Julissa
05-03-2007, 10:28 AM
I've arrived a little late to class, quietly pulling up a chair:lol:
Thanks Pat for this thread--need to learn blending tips.
Also, thank you for going slow, it will definitely help me out:D

Geoff
05-03-2007, 11:11 AM
Sorry I'm late, ma'am, I'll sit quietly at the back of the class - too much of a scrum at the front :lol: .
Looking forward to learning as you go along.
If I get peckish, is it alright if I grab a bit of the melon?:cat:

hopalong
05-03-2007, 11:48 AM
Hi Geoff! Can you please translate for those of us across the pond? Scrum? and PEckish? I'm slowly converting to an anglophile. Practically dieing for a trip to the UK. I'll have to know all this stuff.

Geoff
05-03-2007, 12:03 PM
Whoops,
Scrum (From Rugby football) : Mass of players around a ball - so in this context a crowd of artists around the easel (not letting anyone else get a look-in !!!) !!!
Peckish (British meaning) : HUNGRY :LOL:

Diana_pastels
05-03-2007, 02:29 PM
Pat,
This looks wonderful and I would like to follow along. I only have soft pastels and am new at that. Could I try this using softies, or are the techniques so different that I would be confused?
Diana

Pat Isaac
05-03-2007, 03:44 PM
Watch the fingers, Geoff, if you pluck the melon....:lol:
By all means, Diana, try the softies.
I am trying to fix that Lindsay. When I tried it this morning I lost both your posts...:eek: I'm new at this, but will try again.

Pat

MadMaddy
05-03-2007, 04:28 PM
very much looking forward to following along here.

Thanks for the effort Pat, and i can't wait to see how you do what you do; since your work is always so nice.

Pat Isaac
05-03-2007, 04:43 PM
Thanks, Maddy. Join in if you can.

Pat

artbyjune
05-04-2007, 05:12 AM
I am interested Pat and hope to follow along but I won't do the practical. At least not at this stage as I have too much on my plate. I am looking forward to seeing the process and all the other contributor's works too.

Pat Isaac
05-04-2007, 07:34 AM
Glad to have you watching, June. I'm off to the studio soon and today I will start the color.

Pat

redclare
05-04-2007, 03:54 PM
It's great that you are doing this Pat! No time to actually do the project myself just now, but am watching intently, with the quiet ones in the back of the classroom. Slow is good!

Pat Isaac
05-04-2007, 05:30 PM
Hang on everyone, I have the color pics to upload and I forgot the last one and left the color info at my studio. It has not been a good day, lots of interruptions....Not to worry, I will upolad all tomorrow am. and the you can all start over the weekend. As I said I am not a fast worker as I try to get to my studio every day, but "stuff" happens. I also have a concert in 30 minutes and need to get to that....
See you all tomorrow and thank you for your patience.

Pat

AnnieA
05-04-2007, 07:30 PM
No worries, Pat. I'm sort of glad you were delayed, as that makes it more likely that I can participate. :) Enjoy your concert.

artlaw
05-04-2007, 08:41 PM
:wave: :clap: OOOOOOOOOOH Demo On, Demo On!!!!

I'm late, late for a very important art demo....at the back of the class! Slow is good...just in time to get the bowl of popcorn! No buttery fingers on the work though.:D
artlaw/Leanne

Pat Isaac
05-05-2007, 12:33 PM
Well, I'm back now.
When I start an oil pastel I always have a piece of the same paper on my table to test colors on as they look different on every color.http://www.wetcanvas.com/Community/images/05-May-2007/35760-color1.jpg
I try to put some color down all over to start and this is usually the local color of the objects. I like to work the painting all over rather than finish one area at a time. I started by using Sennelier #18, brilliant yellow for the near melon and Holbein cadmium orange hue 4 for the back melon. I roughed in 4 shades of red for the plums and started some of the cloth. http://www.wetcanvas.com/Community/images/05-May-2007/35760-color2.jpg
I then went back and started to define the melon. At this point I am only using my fingers to blend. I added the cad orange to the yellow on the near melon and blended with my finger. http://www.wetcanvas.com/Community/images/05-May-2007/35760-closeup_smudge.jpg
Really hard to take a picture lefthanded..:lol:
As I go along I will define the seeds as I started to on the top of the near melon. The dark orange between the melons is Holbein cadmium orange hue #1. I added more of the reds to the back plum and blended with my finger. I also added the rim of the plate. I'll keep moving around the painting as I go along. http://www.wetcanvas.com/Community/images/05-May-2007/35760-color3.jpg
Please ask questions and I'll post more progress on Monday.

AnnieA
05-05-2007, 01:06 PM
Woo hoo, Pat! This looks terrific already! :clap: And your instructions are really clear - the color names printed right on the painting are a really good way to understand what you're doing and the close up is helpful too. Thanks!

ElleZee
05-05-2007, 08:16 PM
OMG!!!! THIS LOOKS AMAZING!!!! :eek:

Sorry I am so late, Pat.....I'll be the rowdy late arrival that causes the big commotion :evil: I don't know if I'll be able to follow exactly (cannot find that colorfix paper anywhere yet...and I've been looking :mad: ) I may do a cropped version and try a different paper. That orange sure pops on the blue paper!!! I can't believe how perfect that cantaloupe looks already.....mmmm...cantaloupe......

AngelaF
05-05-2007, 09:21 PM
Just came in this evening after a long day at the hospital and then the nursing home. I had to pull this up though, eager to see the next phase. Your demonstration is very, very clear, with all the colors listed on the drawing -- very thourough and illustrative. Love the colors on the blue. Would "hurt" to use another large sheet of colorfix, though to test the colors. This is looking bright and beautiful. Thank you so much, Pat, for sharing your abilities and time with us so much. Your technical skill with the camera and posting are also very admirable -- the photos are so clear!

LJW
05-05-2007, 10:13 PM
Thanks so much, Pat, for the thorough instructions. It's wonderful to be able to follow your work so closely. :clap:

I have managed to make a start. I'm finding that blending the Sennelier #18 and the Holbein cad. orange is difficult. They just don't seem to want to mix together very smoothly. Did you have that problem? I wondered at first if it was the dark paper, but the plum colours seem to blend ok so I think it must be that combination of colours that's the problem. Jane

artbyjune
05-06-2007, 03:08 AM
Very enjoyable to watch this develop. I really like the way you have used 4 different reds for the plums and the blue background interacts to make them look like dark purpley-red, perfect for plum colour.

P.S. I managed to get hold of colorfix paper and I am keen to try it out soon.

Pat Isaac
05-06-2007, 08:09 AM
Lori, The colorfix paper is not an absolute. Use what you can find or what you are used to. Cropping is fine.
Angela,Hope you Mom is okay. I'm only using the end piece of that sheet of colorfix. Does look like another whole sheet...:eek:
Jane,I didn't have any trouble blending the Senn #18 and the Holbein. I put them down rather heavy. When I go to my studio tomorrow, I'll make sure those are the colors. Sometimes I find the same color acts differently i.e. I have 2 sticks of Senn #18 and one is harder to blend than the other.
June, Thanks, hope you like the paper.

Pat

hopalong
05-06-2007, 08:18 AM
Lovely Pat. Thanks so much. Things are busy here so I may not post as much and I may not keep up as quickly. But I REALLY appreciate seeing your work up close and personal.
Angela, so sorry you are having a hard time. Hope your mom recovers quickly.

Pat Isaac
05-06-2007, 08:22 AM
Thanks, Lindsay. Take your time and take care, I imagine this is a busy and difficult time for you.

Pat

LJW
05-06-2007, 06:57 PM
Thanks, Pat, for your reply. I guess that my OP has somewhat dried out. I have occasionally found other colours which seem harder too. I'll try adding another layer and see if that helps. Jane

Pat Isaac
05-06-2007, 07:24 PM
I will also check my colors tomorrow and make sure that is the color I used.

Pat

Pat Isaac
05-07-2007, 03:31 PM
Here is another update and it wasn't Cad orange that I blended into the yellow on the near melon, it was Sennelier #200 mandarin. :eek: Sorry.
http://www.wetcanvas.com/Community/images/07-May-2007/35760-color4.jpg
I continued working on the melons, by adding more of the senn yellow and mandarin to the near melon and blending with my finger. I also added more color to the back melon using Senn mandarin. I also started dealing with the seeds by adding lights and darks.....what was I thinking...these are going to take some work. However, the main thing is to think of them as shapes of light and dark. I continued to use the Senn yellow #18 and the Cad orange #4 for the center. I also started adding some more color to the skin.http://www.wetcanvas.com/Community/images/07-May-2007/35760-closeup_of_skin.jpg I had a base layer of Senn. #94 down and I lightly added a layer of Senn #99 and then put in a hint of Senn. #28. I then blended along the edge of the skin and melon with a tortillion stump and added a little Senn white to that area. http://www.wetcanvas.com/Community/images/07-May-2007/35760-blending_tool.jpg
I had hoped to get more done today, but was interrupted several times.
Back tomorrow.

Pat

LJW
05-07-2007, 05:47 PM
Thanks so much Pat. I'll give the Mandarin a try. I have another question. For the table cloth, are you going to use the paper colour as the darkest blue? Thanks. Jane.

Pat Isaac
05-07-2007, 05:49 PM
No, probably not as I don't like to leave the paper showing in this kind of work.

PAt

ElleZee
05-08-2007, 08:14 AM
Looking great, Pat! Thank you so much for such a well thought out and detailed tutorial. Very much appreciated! I hope I can start soon.....so much to do...not near enough hours in the day.

starblue
05-08-2007, 11:29 AM
No, probably not as I don't like to leave the paper showing in this kind of work.

Can you elaborate? When is showing the paper acceptable and in what kind of work?

Diana_pastels
05-08-2007, 02:54 PM
Pat,
I thought you were going to "go slow"?! I haven't even started yet and look how far you have progressed. :eek:
Diana

Pat Isaac
05-08-2007, 02:59 PM
Showing the paper is probably acceptable in any work, I just don't prefer to do it. I like to make sure all the little holes are filled in, though some artists like that texture to show through. It often enhances landscapes and is just a matter of preference. I didn't mean it to sound that this techniques was not acceptable. Sorry..
I thought I was going slow....:eek: won't have another update until Thursday.
Need to do some yard work.....

Pat

AnnieA
05-08-2007, 05:03 PM
This is just great, Pat! The closeups are so helpful!

I haven't had time to start on it, and I may not have all the colors (I know I don't have Mandarin, for instance), but I hope to be able to try it later. It's a terrific learning experience, at any rate, just watching how you go about things. Thanks again! :)

Pat Isaac
05-08-2007, 06:46 PM
Thanks, everyone. Mandarin is one of the new 200 series that Sennelier has. When they first came out I bought the new colors. Just a regular orange would be fine.

Pat

starblue
05-08-2007, 07:57 PM
Showing the paper is probably acceptable in any work, I just don't prefer to do it. I like to make sure all the little holes are filled in, though some artists like that texture to show through.
Ah, I see what you mean. I tend to prefer blending too, but that's probably because I've only done small works so far, where any paper texture showing is proportionately more distracting.

cat1lady
05-08-2007, 10:12 PM
Just wanted to thank Pat again:clap: I am actually following along. Of course mine is on white watercolor paper and I don't have the same colors... I also managed to get the paper covered with smudged fingerprints-which I don't usually do.
I love seeing other people's renditions of the same thing. It gives a little insight into how others think when they approach a project. I, being new to OP's, don't really have an approach. Each picture I do is complete new experience.

ElleZee
05-09-2007, 06:44 AM
Just wanted to thank Pat again:clap: I am actually following along. Of course mine is on white watercolor paper and I don't have the same colors... I also managed to get the paper covered with smudged fingerprints-which I don't usually do.
I love seeing other people's renditions of the same thing. It gives a little insight into how others think when they approach a project. I, being new to OP's, don't really have an approach. Each picture I do is complete new experience.

Let's see, let's see!!!!!!

Pat Isaac
05-09-2007, 08:06 AM
Good for you, Katy. Doesn't matter what you are using as long as you find it helpful. Did you know that you can tone the watercolor paper with a watercolor or acrylic wash and then put OP over it?

Yes, let's see.

Pat

starblue
05-09-2007, 12:56 PM
Just wanted to thank Pat again:clap: I am actually following along. Of course mine is on white watercolor paper and I don't have the same colors...
I intend to join in but won't start until Pat's done so I can understand her process from start to finish. (I've been copying Pat's relevant posts into a Word document, to be printed when she completes the painting; then I can take it into the other room where my drawing table is.)
... I, being new to OP's, don't really have an approach. Each picture I do is complete new experience.
Same here. My current process is that of a 4yo's: see a blank spot on the paper; say a tree is supposed to go there; find a tree-colored pastel stick; make a tree-colored mark on the paper; spend rest of painting trying to make the mark look like a tree; decorate round bin under my table with paper with tree-colored marks. :) I'd like to get to a point where the last step becomes optional. :p

Pat Isaac
05-09-2007, 01:13 PM
That is funny, Bob..:lol: You have to understand that the process always evolves as you keep producing art, at least it does for me.

I've been copying Pat's relevant posts into a Word document, to be printed when she completes the painting; then I can take it into the other room where my drawing table is.

Taking notes is a good thing. I did the same thing with Dianna Ponting's class and hope to do that one in OPs sometime.

Pat

hopalong
05-09-2007, 04:21 PM
I'm following along too but I'm too chicken to post. I bugged out of that gingham and traced too. CHEATER!!!! Ok confession over.

Pat Isaac
05-09-2007, 04:27 PM
No problem, Lindsay. Do whatever works. After I did that I thought, oops maybe I should have had a solid color. Any way, I went with a little challenge and do what you can. Don't be afraid to post ....we are friendly....:heart:

Pat

starblue
05-09-2007, 07:59 PM
Hey, Lindsay! Nothing says you have to copy Pat's photo *exactly*--put in a row and column of checks and make the rest a solid color. But one of the things we asked for in this demo was how to put down two colors next to each other crisply without contamination from the other color, and the checks should give us practice in that task.

hopalong
05-09-2007, 09:55 PM
Thanks guys! We are a friendly bunch. OK, I want to finish up some more and then I'll post!

Bob, you are absolutely right about not doing it *exactly*. And Pat, you give us challanges! That's a good thing.

sundiver
05-09-2007, 10:15 PM
Omigosh, Pat, this is beautiful! I'd love to give it a try but I don't think I'll be able to find the time. I'm behind in so much already. Rats. I'll enjoy looking at everybody else's work, anyway!

cat1lady
05-09-2007, 10:50 PM
Well, here's my efforts so far. It's a pretty bad photo.
I haven't done anything with the cloth yet but lay the colors. The apples aren't really blended yet either. I kind of wanted to see what the rest looked like before I altered the apple colors. I think they are too dark.

As a side note, I recently joined the Oil Pastel Society with an associate membership. I got my email confirmation today. I figured, if I can learn anything from the newletters it will be well worth the 20 bucks.

Katy

Pat Isaac
05-10-2007, 07:26 AM
Katy, this is really looking good. I like how you have handled the melons so far. I haven't done much elso on mine either.. I will be adding more today.
The newsletters are good by the way and you might check out the primer on the site.

Pat

Pat Isaac
05-10-2007, 04:21 PM
Here is another update. http://www.wetcanvas.com/Community/images/10-May-2007/35760-color5.jpg
I worked on the back melon and the cloth behind it, plus the back plum. I added values to the plum with the reds that I mentioned before and added the white highlights. I also started working on the cloth a little and blending the edges with the tortillion. I added some Sennelier blue gray to the darker blue as I felt it was too bright. http://www.wetcanvas.com/Community/images/10-May-2007/35760-blend1.jpg Sometimes, and you might be able to see it, the stick picks up some of the color as I blend. What I do then and in this case I put a little of the Bordeaux color on the stick and blended it in. I usually tend to blend from the darkest value so that the lighter color does not get contaminated. I also added orange to the back melon and darkened the rind next to the melon flesh. http://www.wetcanvas.com/Community/images/10-May-2007/35760-back_plum_and_melon.jpg I then blended those edges together dragging some of the dark green into the melon so the edge would not be so sharp.
http://www.wetcanvas.com/Community/images/10-May-2007/35760-blend2.jpg
I moved on and put in some more values in the area of the seeds on the back melon not using any new colors. I then worked on blending the from plum and started to work on the cloth shadow in that area. http://www.wetcanvas.com/Community/images/10-May-2007/35760-plum.jpg Most of the blending was done with my fingers. I should take a picture of them sometime.:lol: I probably won't get back to this until Monday so have a good time. Questions??

Pat

LJW
05-11-2007, 10:43 AM
Thanks for the update Pat. I can imagine your fingers are all the colours of the rainbow by now. :lol:

I haven't started the cloth yet as I'm still a little bit unclear about the colours. As I understand it, you are using the S11 blue-grey over the S227 royal blue for the darkest blue? (I don't have S227 and, combined with the blue paper, I can't tell for sure from the photo). I take it that the medium blue is Holbein 38C #5 ultramarine in the lightest value? If this is correct, did you use white for the lightest area of the cloth? Sorry to be so unsure. I wish I had both complete sets, but that's beyond my current budget, unfortunately. :crying:

Thanks again for undertaking this classroom. It's so interesting to see how you apply many layers. The variety of values and hues you use in a given area surprises me (the number of oranges, for example). The subtlety of colour and degree of realism you achieve in your work is outstanding. I'm learning a lot. Jane

Pat Isaac
05-11-2007, 11:07 AM
Thanks, Jane. I am happy that you are finding this helpful.
Yes, I used the blue gray on top of the royal blue. The lighter color is the Holbein, but value #1 which is the lightest. I am using white for the other squares and will tone it down with grays when I determine the shadows. I don't have a whole set of Holbeins, I just kept buying the single hues that I thought I wanted and that is how I built up my Senneliers. Been at it awhle though.

Enjoy,

Pat

Pat Isaac
05-11-2007, 11:10 AM
Jane, I just noticed that I put #5 next to the Holbein blue and it should be #1.
I'm a terrible proofreader. #5 is the darkest hue in the Holbein line.

Pat

starblue
05-12-2007, 01:52 AM
... #5 is the darkest hue in the Holbein line.
I think that's incorrect. Holbein organizes each color set of 5 from darkest to lightest. Holbein's website (http://www.holbeinhk.com/artoilpa.html)shows each set of 5 but doesn't explicitly mention which ones they call #1 and #5. However, Jerry's site (http://www.jerrysartarama.com/art-supply-stores/online/1914)does, and #5 is lightest.

Pat Isaac
05-12-2007, 07:38 AM
Thanks so much Bob. I was right the first time. It alsways confuses me, because they are not numbered the way I think they should be. Light to dark, 1-5. Therefore, the indigo (38C) that I used in the shadow under the plum should be #1 and not #5. I think I will remember that now.

Pat

AnnieA
05-12-2007, 07:58 AM
Terrific closeups, Pat. This is a great lesson and you are an excellent teacher. I still haven't managed to start, but I've bookmarked the thread so I'll always be able to find it, should it take me a while to get to it.

Pat Isaac
05-12-2007, 08:50 AM
Thanks, Annie. Hope to have more to show on Monday.

Pat

artbyjune
05-13-2007, 01:43 AM
Beautiful rich colours, Pat!

I finally got a full set of Senneliers (Birthday money!), and I am thrilled with all the new colours...especially a HUGE range of greens. I had about 4 different greens before.

I had toyed with getting a set of Holbeins, because of the tonal ranges, but if I can find my way around the Senneliers that will be an achievement.

AnnieA
05-13-2007, 10:09 AM
Congrats on the Senns, June! They do have a lovely range of "painterly" colors and you're right about those greens. There are even some reasonably dark greens. Enjoy!

Pat Isaac
05-13-2007, 10:21 AM
Enjoy all your colors, June. I especially love the new ochres in the Senn line.

Pat

hopalong
05-13-2007, 05:45 PM
Pat, I have 2 questions. Is that blue paper showing through to give yourself the darks in the seeds? And how did you keep such a clean edge on the plate edge. Are you using pencils?

LJW
05-13-2007, 06:03 PM
Lucky you, June. Have a good time trying them all out.

I have decided to post my version so far. In order to keep the pattern of the tablecloth from destroying my sanity (such as it is), I started at the lower corner and worked up from there. I don't have Senn. 227 royal blue, so my darkest value is a combination of Holbein 38E3 indigo and Senn 203 Delft blue. Pat, should I continue with the same colours throughout, with the idea that for shadow areas and for the area under the plate I can modify these colours with the addition of other colours/values? (Note, that my front plum doesn't have a shadow as yet.)

With regard to the melons, I don't have Senn. 24 orange, so I'm making do with Holbein 10A Cad. orange and Senn 200 Mandarin orange. The Mandarin is somewhat red, so the rearmost melon is redder than I would like. I've tried modifying it with Senn 20 Deep yellow, but I'm finding that applying this tends to gouge out the top layer exposing the dark blue paper. So I took drastic measures and applied a mixture with a palette knife. The OPs are now so thick on my melons that I don't think I can add any more. :eek: Let me know what you think so far. Thanks. Jane

hopalong
05-13-2007, 07:30 PM
Jane and Katy, I'm totally blown away. You guys are doing that %$$#@ table cloth which drove me to distraction. I a fit, I scraped the whole thing down and went for a solid.
Jane, I too had a really hard time getting the proper color on the melons. My drastic action was to cover the whole thing in clear gesso to give myself some more traction.Anyway, learning alot Pat. So thanks for hearing all this whinning.

Ok, I might still do the table cloth but enlarge the checks....or just do stripes and call it a day.Still working on those seeds too.

http://www.wetcanvas.com/Community/images/13-May-2007/81895-Pats_demo_melon.jpg

Pat Isaac
05-13-2007, 09:08 PM
Wow, you are all doing so great, I am so pleased with what you are doing.
Jane, The colors that you are using are working just fine and eventually you will be able to add more to the melons. I can relate to the pattern of the tablecloth, maybe you would like to do mine? :lol: Yes. Those colors are fine and then we will add the shadows and highlights. I have a lot of trouble with the Senn yellows, any yellow for that matter and I ultimately force them to do what I want, but its not easy...:rolleyes: patience. Keep going , this is fantastic.

Lindsay, The dark of the paper showing through on the seeds is not my final as I will fill all that in and not use the paper for the dark. So far, I am not using pencils, just drew a line with an OP for the plate so far. A little whine is fine...heehee....you should have heard me cursing about the cloth a few days ago wondering what was I thinking???? and almost went for a plain color, but decided it was a good learning experience, albeit frustrating. I think you are doing just fine and the melon color is great. I really like your painterly approach and try to think of the seeds as shapes and values not individual seeds.

Be back tomorrow. Great job, everyone.

Pat

AnnieA
05-13-2007, 11:17 PM
Everybody: Great job - just amazing! It's interesting how the interpretations are different, but each is just great in it's own way.

Katy: It looks like you've got a really good start going - the melons look terrific and so does everything else. You're picking up on OPs really quickly! :thumbsup:

Jane: I think the darker orange of the far melon looks good. Your entire piece looks just great! Are we looking at a semi-closeup or did you crop it a bit differently than the original? Nice work! (I've had that same problem with the Senn yellows, and light blues sometimes too.)

Lindsay: I really like yours too. You could practically leave it right there and have something really nice in that looser more abstracted style of yours. Very nice!

Paula Ford
05-14-2007, 06:29 PM
WOW, what a fantastic, information loaded, classroom Pat!

Paula

Pat Isaac
05-14-2007, 07:08 PM
Thanks, Paula.
Here is another update.http://www.wetcanvas.com/Community/images/14-May-2007/35760-color6.jpg Today I worked on mostly finishing up the back melon slice. I used all the same colors of orange and yellow to finish up the seed area. I blended the small areas with the tortillion.http://www.wetcanvas.com/Community/images/14-May-2007/35760-seed_closeup.jpg I then worked on the cloth under that slice adding the shadow and the edge of the plate. I did add another blue to the shadow near the plate. Senn.#84http://www.wetcanvas.com/Community/images/14-May-2007/35760-cloth_closeup.jpg I also blended along the edges of the squares with the tortillion.
I started working on the front melon slice and forgot to wipe off my OP and contaminated the color. I removed that with a palette knife.http://www.wetcanvas.com/Community/images/14-May-2007/35760-mistake_fix.jpg I continued working on the front melon and started to establish some of the seed area. I am still using the same yellows and oranges. Much of the blending is done with my fingers.
Hope to have more by the end of the week.
Questions??

Pat

E-J
05-15-2007, 07:20 AM
Fabulous to see your technique up close, Pat! Thank you for this demo! Makes me appreciate your work all the more.

Pat Isaac
05-15-2007, 07:51 AM
Thanks, E-J.

Pat

Sandy K
05-15-2007, 08:11 AM
Pat,

Thank you for this WIP. I don't believe since I joined I've seen such a detailed WIP. It is great. Always makes me want to pursue OP's when I click on this...lol......someday I just may get hooked. I took a piece of Colourfix paper and tried with the Portfolios (which I love) and the Expressionist and I must say I had a different pleasant experience with the OP'ssince the last time I used them........maybe someday I will get the Sennies and jump right in.

Again, thank you for this excellent WIP.

Pat Isaac
05-15-2007, 08:50 AM
Thanks for looking in Sandy. The expresionists and colorfix paper would work well for a start. I think the paper makes a big difference.

Pat

hopalong
05-15-2007, 10:14 AM
Ah, Pat, I see just what you mean about treating the seeds as shapes. Thanks!!!!!!
PS, I loved your confession to wanting to make a solid cloth!! cracked me up.
And I've done the same thing with color contamination. I like your use of a pallet knife. My razor is too wide or sharp. Learning loads.

Pat Isaac
05-15-2007, 12:52 PM
Thanks, Lindsay and you don't know how many times I thought about changing that cloth...:lol:

Pat

LJW
05-15-2007, 01:28 PM
Thanks Pat for the update and for your encouragement. I really appreciate the time you are taking to do this for us.

I have another question. I'm wondering how to approach the cast shadows on the tablecloth. Do you have a general approach, such as using a darker value of the colour onto which the shadow is falling? Or can you look at the shadow and pick out the colour(s) it contains? I find the second method quite difficult. Part of my problem is that my tablecloth colours are slightly different than yours because I had to use colour substitutes, so I'm not sure if I can simply use the colours you are using to overlay for the shadow areas.

I'm also wondering about the Holbein grey you show in the first photo of the most recent update. Are you applying it to all the white squares to grey them down? And just which grey is it - I find the Holbein approach to greys confusing with "non colour 1" (32A) and "non colour 2" (32B) and warm grey (32C). Sorry to be so unclear as to how to proceed. Thanks again for all your help. Jane

Pat Isaac
05-15-2007, 02:04 PM
A darker value of the cloth colors would work just fine and I also add a little of the complement to gray it even more and to carry some of the main color throughout the painting. The darkest value is where the object sits.

Ah, the grays. I didn't bring my color paper home with me so didn't have the gray #. I forgot that Holbein also has warm and cool grays. This was noncolor #5.

Does this answer your questions? One problem I'm finding with the Holbeins is the lack of info on the stick. I made a color chart when I first started to get them, but haven't been very faithful about keeping up with it. i do have one from the company though and that works for the most part.

Pat

LJW
05-15-2007, 02:12 PM
Thanks, Pat, for your quick reply. The new packaging for the individual sticks of Holbeins really helps. I've been buying new ones to both fill in and sort out my Holbein collection. I'm finally able to judge what most of the old ones are in comparison to the new labeled ones (some duplication is occurring as I sort them all out, but I expect I'll use the duplicates eventually).

Just one thing - are you greying all the white squares or just some of them? I couldn't tell from the photo whether the one pointed to was in shadow or not. Thanks again. Jane

Pat Isaac
05-15-2007, 04:02 PM
Welcome, gedeonbacsi.:wave:

Yes, I have been putting some of that gray on all the white squares to tone them down a little and then will add white later where I want them more highlighted. I should start doing that with some of my Holbeins that are just about nubs now.

Pat

LJW
05-15-2007, 04:59 PM
Thanks, Pat. I'm hoping to get more done on my painting tonight. Jane

Pat Isaac
05-15-2007, 05:13 PM
Great. I will try to get another update tomorrow, but won't have any after that until the following Monday as i am going awy over the weekend starting on Friday.

Pat

sundiver
05-15-2007, 07:40 PM
Just popped in for a quick drool ! Pat, it's amazing! Your presentation is great too- thanks so much!

Pat Isaac
05-15-2007, 07:54 PM
Thanks, Wendy. :)

Pat

Pat Isaac
05-17-2007, 04:48 PM
Here is another update. I had hoped to get more done today, but couldn't seem to get out of my own way. I will be away tomorrow through Sunday, but should have another update on Monday.
http://www.wetcanvas.com/Community/images/17-May-2007/35760-Color7.jpg Mostly what I did today was try and get some of the seed area on the front melon filled in. I also darkend the front melon a little. I used the same oranges and yellows plus white. I also used the paper stump to blend some of the seed areas. They are not finished by any means yet.
http://www.wetcanvas.com/Community/images/17-May-2007/35760-seed1closeup.jpg
I also dealt with the shadow under the melon and the inner rim of the plate.
Directly under the melon I used Sennelier #8 and Holbein indigo #1. I tended to blend it together with my finger and then cleaned up the edge with the paper stump.http://www.wetcanvas.com/Community/images/17-May-2007/35760-shadow_closeup.jpg
I then added white and raw umber to the inner rim, plus indigo for the darker areas.
I hope to finish the seeds on Monday and get a lot done on the cloth. We are getting there.

Pat

LJW
05-17-2007, 06:00 PM
Thanks for the update, Pat. I've been continuing to work on the tablecloth - a bit at a time. Have a great weekend. Jane

cat1lady
05-19-2007, 03:03 PM
Just thought I would post an update.
My table cloth is a disaster so I'm also posting a crop.
My picture is only 8 x 10 so those checks in the backgound are really small. If I were to do it all over again, at this size, I would probably first do the checks in oil pencil or colored pencil and then go over with the OP's.
I was trying to mute the front part of the table cloth so as to not draw so much attention to it. Not quite a successful endeavor, I might add.

LJW
05-19-2007, 05:37 PM
Cat1lady, your painting is coming along quite nicely. Your melons and plums look great. Love your seeds.

I, too, am struggling with the tablecloth; trying to keep the pattern correct is a real challenge, especially where it's distorted by the plate or where it's wrinkled at the right-hand side. I left the top till last and it's going to be hard to work the OPs into such small squares. Right now I've been trying to get the shadow cast by the front plum to look right. I think I'd better wait to see how Pat proceeds further with her shadows. This is certainly a challenge to paint, but I'm learning a lot. Jane

Pat Isaac
05-20-2007, 01:03 PM
Cat1lady - posting from my sisters in Vermont. This is coming along very well. Great job on the melons, seeds and plums. I don't think the cloth is as bad as you make it out to be. Instead of blending together to make it less distinct you could just lighten the value of the checks. I think you've done wonderfully for such a small size.
I'll be back tomorrow so hopefully will post another update on Tuesday.

Pat

artbyjune
05-21-2007, 03:43 AM
Hi catlady, your fruit looks very good. Nice golden melon and rich dark plums. I think the cloth is coming along fine as well. I expect I'd get lost in all those checks...if I were to attempt it!! I think Pat's tip about lightning the values of the squares to make them secondary to the fruit is a good one. Looking forward to an update.

bluefish
05-21-2007, 06:52 AM
Wow Pat, this demo is wonderful - I don't know where you find all the time to concentrate on such an elaborate endeavor with all the other things you are involved with - WC monitor, digging for clams, filleting those fish with the big orange teeth - a real 'Super' woman!:wave:

will be watching as you go - you have to have the patience of a saint to do that checker board tablecloth!

'bluefish':angel:

Pat Isaac
05-21-2007, 09:03 AM
:lol: :lol: Well, the clam digging is seasonal, but those big fish with the orange teeth are often a problem.....especially when they get caught up in the blue seaweed....

Thanks for the comments and yes, that tablecloth is a [email protected]#.

Pat

Pat Isaac
05-22-2007, 05:10 PM
I am feeling really bad that I didn't get as much done today on the painting as I had hoped. I had a meeting with another artist and the manager of the building discussing options for the all of us and it went on much longer than I expected. I need to work in the garden the next 2 days and then I will surely post progress on Friday. I am sorry to be holding this up. I hope this doesn't mess you all up.

Pat

LJW
05-22-2007, 10:00 PM
Pat, don't feel bad about it. I spent today planting potatoes, tomatoes, lettuce and radishes. I'm posting my painting in it's current state. I wiped out the upper right-most tablecloth area twice trying to get the rows lined up and to get the fold/wrinkle to look right. I just hope I can get the last corner right! Note, I'm working from a tracing and it's still a problem to keep things straight. Pat, I don't know how you'll manage trying to draw it freehand. After my first wipe out which removed the tracing, I tried to draw it looking at the original but I kept getting lost and ended up with not enough rows. I had to remove what I had done and then retrace that area. :crying: By the way, my painting is 10" x 12" in size. Jane

artbyjune
05-23-2007, 12:48 AM
This looks very good Jane! Crisp.

hopalong
05-23-2007, 08:02 AM
catlady and Jane! What beautiful paintings. You guys really persevered in the face of a challange. Paid off too!!!

Pat, don't feel bad! You gotta plant while the planting's good! Also, your stuido arrangments are important!!!! Hope you came up with good ideas.

Pat Isaac
05-23-2007, 09:01 AM
This looks absolutely wonderful, Jane. I know what you mean about the checks, I keep redrawing them as I go along. I did do a little on the cloth yesterday and was hoping to get to the shadow under the plum, but didn't quite make it.
Here is where I'm at, no new colors added.
http://www.wetcanvas.com/Community/images/23-May-2007/35760-Color8.jpg

Pat

johndill01
05-23-2007, 08:38 PM
Pat, I took your advice and picked up some of the better oil pastels, Holbein and Senneliers, while at IAPS. Now a question. How do you remove pastel from AS paper? I am trying your picture of the melon and plums and the checks are driving me crazy. Do you have a good optometrist to get my eyes uncrossed??:D

John

Pat Isaac
05-23-2007, 09:08 PM
They had oil pastels at IAPS???? If I had known that I would have tried to have been there....Sorry about the checks, they are driving me crazy too..:eek: When I want to remove OP, I first scrape off the excess with a palette knife and then take a cloth dipped in turps or mineral spirits and wipe away the OP. Ater it dries, I redraw.

Hope this helps.

Pat

johndill01
05-24-2007, 08:11 AM
Pat, thanks for the info on wiping out OP's. Holbein, Sennelier, and AS all had their OP's on display and sale. There may have been others, but these were the one's recommended to me because they were made with mineral oil instead of a wax base. Also for their softness. I have a small set of Faber-Castell which I also use, but they seem harder and more waxy feeling..

You need to make plans for the next IAPS, because I'm sure that more vendors will have new OP's. There were at least a couple of Australian artists at the meet. They both sat in front of me at Leslie B. DeMille's portrait demonstration.

John

Pat Isaac
05-24-2007, 08:37 AM
Well, I definitely will make plans for the next one. I use Sennelier and Holbein, like their softness.

Pat

johndill01
05-24-2007, 07:13 PM
I also like these. Just wished that I had known how they worked, so I could have bought either larger sets or more from open stock. Quite a difference from the variety sold in local craft shops. Unfortunately, no major stores close by, so everything comes in from e-mail order.

John

starblue
05-24-2007, 07:18 PM
John, you say Art Spectrum has oil pastels? Can you tell us more? Range? Price? Who has them? Did you get any?

Pat Isaac
05-24-2007, 07:22 PM
Hmmmm...didn't know they had any, just assumed it was the paper.

Pat

johndill01
05-25-2007, 06:34 AM
No, I didn't pick up any of these. I had already purchased two small sets (paid for them and going back to pick them up) and just happened to see these when I walked back by their booth. I don't recall what the price was. They had a couple of small sets out on display, unless my old tired eyes were seeing things(again). Sorry, I'm not much help.

It didn't seem like any of the vendors were pushing the OP's. Just put some out and let people find them. More seemed to come out front late in the final day (Sunday), just before they were getting ready to close.

John

TBond
05-26-2007, 09:57 AM
I'm so delighted that I've found this thread!!! Thank you so much Pat! I'm going to attempt a huge by my standards painting - 8 x 12:)

Geoff
05-26-2007, 11:06 AM
I'm so delighted that I've found this thread!!! Thank you so much Pat! I'm going to attempt a huge by my standards painting - 8 x 12:)

mm ? :evil:

TBond
05-26-2007, 12:13 PM
Geoff, I normally paint 2.5 x 3.5:)

TBond
05-26-2007, 03:00 PM
Well, here's what I've done so far.

Pat Isaac
05-26-2007, 04:32 PM
Wow!, this is excellent, Tanya. Look at those seeds and the rind. Just great so far. Big??, but I know you do those wonderful tiny images. Mine is a lot bigger.
I hope to get back in the groove next week. A lot has been going on. The domo today was a lot of fun.

Pat

TBond
05-26-2007, 05:19 PM
Thank you Pat, you know it's quite big for me:) I've been working hard on it so here is another update

Pat Isaac
05-26-2007, 05:22 PM
You have been working hard...the cloth looks great and the colors are perfect.

Pat

starblue
05-26-2007, 09:03 PM
Tanya, what's your technique for getting the colors in the checks up against each other without dragging one color into the other? Or are those edges inherently fuzzy and we're just not seeing them that way because the image has to be so small for WC! It always seems like I drag one color into another so my edges never seem very crisp.

LJW
05-26-2007, 10:51 PM
Looking good Tanya. I particularly like your seeds and your melon skin treatment. Jane

TBond
05-27-2007, 03:17 AM
Bob, here's a close-up, so you can see some black bits of paper between the checks, I'm not yet sure what I'm going to do about it, and wanted to find some advice here:) ALthough I might leave them as they are since I always have them black spots in all of my paintings.
Jane - thank you:) You have lovely melon wedges and beautiful cloth! Is your painting finished yet?

Pat Isaac
05-27-2007, 07:44 AM
When I get to my studio this week, I'll show you what I do between the checks.

Pat

TBond
05-27-2007, 01:31 PM
Pat, I'm looking forward to it!

hopalong
05-27-2007, 04:14 PM
TAnya, beatufiul job so far!!! Your checks look great!!!!

LJW
05-27-2007, 04:55 PM
Pat, as I have struggled to cover over the dark blue paper, I too am interested to see how you do it. This is the first time I've worked with such a dark paper. I've used Terracotta for landscapes which complements and modifies the greens. Did you choose dark blue the because of the orange melons or because of the tablecloth?

Tanya, I'm waiting for further guidance from Pat, particularly about shading the cloth and also about finishing the glass plate. I'm finding the instructions very helpful, especially with regard to colour choice and variety. Jane

Pat Isaac
05-27-2007, 05:02 PM
I chose the dark blue paper because of the orange melons as I thought it would be a good complement and I find dark papers make lighter colors pop. I'm sorry that I have not been right on top of this the past few weeks, but life has taken over on some days. I will get a new post up this week.
Thank you all for your patience.

Pat

LJW
05-27-2007, 07:30 PM
Pat, I'm enjoying working at a slower pace at the moment. I think this painting is good discipline for me - I'm learning that revision can continue until the object looks right. I think I sometimes give up too soon, and say "that's good enough". I really appreciate seeing how you work. Jane

starblue
05-28-2007, 04:47 PM
Tanya -- I forgot to tell you, your painting looks great so far. Seeing the checks develop is almost like watching the ocean roll in.

Pat -- Don't worry about being slow. It seems that a lot of us have been busy lately.

I intend to join y'all later this week on the painting.

Pat Isaac
05-28-2007, 04:56 PM
Excellent, looking forward to you joining us. I will be at my studio tomorrow so will have an update.

Pat

AnnieA
05-29-2007, 12:29 PM
Great work, everyone! These paintings look wonderful!

Pat this is a terrific demo! Thanks so much for doing it. :)

Bob: I'm really glad you asked the question about getting the edges right. I find that so hard sometimes, especially with the super-soft Senns. I'm looking forward to seeing how Pat does it.

Pat Isaac
05-29-2007, 04:45 PM
Okay here is an update and how I do it. I didn't get nearly as much done today as I wanted to. I kept getting interrupted by questions and discussions regarding our studio space.....:( When I go again this week I think I am going to lock my door and pretend I am not there.
This is how far I got today.http://www.wetcanvas.com/Community/images/29-May-2007/35760-color9.jpg
I worked on the checks and this image shows the color being put down.
http://www.wetcanvas.com/Community/images/29-May-2007/35760-color_to_check.jpg and this image is blending the edges. I use the paper stumps to do this. http://www.wetcanvas.com/Community/images/29-May-2007/35760-smoothing_check.jpg
I had a terrible time with the checks and realized at one point that I was putting the wrong colors down....:eek: so had to go back and change them. Focus, focus. I had hoped to get the shadow under the plum done, but only managed to start it. I put some highlights on the plate to suggest glass. I am happy that you all are enjoying this and I will have another update later this week.....locking the door....:evil:
Pat

Pat Isaac
05-31-2007, 04:41 PM
Here is another update. http://www.wetcanvas.com/Community/images/31-May-2007/35760-color10.jpg
I did get more of the cloth in and the shadow of the forward plum. I added some new color there and I may have to go back later and smooth it out, but maybe not. http://www.wetcanvas.com/Community/images/31-May-2007/35760-plum_shadow_.jpg I also addes some highlights to the glass plate and worked on the seeds in the front melon. http://www.wetcanvas.com/Community/images/31-May-2007/35760-seed2_closeup.jpg . It's getting there and the cloth is driving me crazy!!!:eek: but I will just slowly get it in place. Part of the problem is that my original lines are not matching up now so I keep changing them. I also added some lighter red to the forward plum. Sennelier #28.

Pat

LJW
05-31-2007, 07:11 PM
Thanks, Pat. Sounds like you're having the same problems keeping the cloth pattern straight as I did. My sympathies. What colours did you use for the lines (highlights) on the plate? Jane

Pat Isaac
06-01-2007, 07:56 AM
Did you mean the rim of the plate or the inside?

Pat

LJW
06-01-2007, 11:03 AM
Inside, primarily. It appears as though you added some lines running parallel to the rim in a gold tone and white - is that right? What did you use for the gold tone? For the rim I have so far used Senn. 26 yellow ochre, H26K1 burnt umber, and H26C2 Raw sienna. Am I missing any colours there? Thanks for all your help. Jane

Pat Isaac
06-01-2007, 11:27 AM
Inside I used white and Senn. #18. Also on the rime I used Holbein #1 indigo.
I think that's right, #1 being the darkest.

Pat

LJW
06-01-2007, 01:30 PM
Thanks, Pat. I'll add the indigo to the rim and try the shading of the glass with Sen 18. I'm really happy you are showing all your steps in detail. Jane

TBond
06-02-2007, 12:25 PM
Pat, thank you for your updates! I haven't got as far as the plate yet myself. Just have been working on the checks:) It was challenging but I enjoyed it:) I used different shades of neocolors on my neopastel base - something new for me! I was able to make the edges more or less straight with the help of neocolors and added some shading on the crease.
As for using the right colours on the checks I think the best thing to do to avoid a mix-up is to outline all of them first, mark the colours accordingly and only afterwards use colour.
So here is my update:

Pat Isaac
06-02-2007, 01:14 PM
Looking good, Tanya. I should have put in all my checks at the begining, but thought I would just put them in as I went along....MISTAKE. However, I'm coping.

Pat

LJW
06-02-2007, 07:08 PM
Tanya, I love the shading you did on the wrinkle in the cloth. I'm afraid to try it for fear of ruining what I've managed so far.

Here's the current state of mine. I finished the cloth (not including shading) and worked on the plate. Pat, do you think that the cast shadow of the plum looks ok? I reworked it a bit. My colour choice has to be different than yours because I'm missing several of the blue Senns that you're using.

It also seems that, looking at your latest update, your light blue squares are greyer than mine. I'm using the Holbein Ultramarine H38C5 for them, which I thought you were using. Have you greyed yours or is it an artifact of this particular set of photos? It could also be that my squares look bluer because I have re-done them several times, since the paper seems to absorb the oil a lot, and I have to keep adding more OPs to get a smooth surface. Are you having that problem? I've never encountered it with the other colours of Colourfix I've used before. Thanks. Jane

TBond
06-02-2007, 07:41 PM
Jane, it looks like you are almost finished:) Looking good!
I think there must be more shadow not just underneath the left melon wedge, but also a bit to the left from it.

LJW
06-02-2007, 07:51 PM
Thanks, Tanya. Yes, there is more shading required to the left, but I'm waiting to see how Pat does hers. My approach is different than Pat's in that I decided to do the base colour of the cloth throughout in order to keep the pattern straight. So I am adding colour to create a cast shadow, but I'm using Pat's suggestions as much as possible. I haven't done the seeds on the plate for that reason too. I like the way Pat adds a bit here and there and really brings the subject to life. Jane

Pat Isaac
06-03-2007, 10:03 AM
This is really looking great, Jane. I hope to really finish up or mostly finish up the cloth tomorrow. In some places, I added a little gray to the light blue as I want some of the cloth to appear lighter in places. I haven't had any problem with the OPs soaking into the paper. I'd actually make the shadow under the plum a little darker, but I'd wait until you get some more of the melon shadow in and see the relationship. I am really impressed with what you all have done.

Pat

AngelaF
06-03-2007, 12:03 PM
Wow - this is a wonderful project -- I am sorry that I didn't start it with rest of you -- I thought I would not be able to put enough time into it to keep up. Catlady1 -- you did a great job on the fruit, I look forward to seeing your piece after you work with the values on the cloth as suggested. Tany and Jane -- you two are both doing marvelous -- though you both describe your struggles -- when you show your pieces all that shows is that you are overcoming ths struggles. The blue cloth does seem a challenge -- kind of counted cross stitch. Does seem a good lesson in observation and focus.

Pat this is a wonderfully detailed lesson -- I know I will go back to it again and again even with different subject matter. Your painting is so lively -- looking forward to the next installment. You know Pat, you could consider writing a nice instruction book on OP -- this lesson could be in it. I am shocked on how little written material in book/manual form there is for OP. Angela

Pat Isaac
06-03-2007, 12:16 PM
Thanks, Angela. It's true that there is very little written on OPs and when I first started using them a lot with my high school classes, I could find only the one written by Kenneth Leslie. Since then I have foound one by Jacquelin black and of course John Elliot's new book. Several pastel books, make reference to them.
It would be a huge undertaking and I'm not sure I have the know how. I was approached several years ago by Walter foster Publications to do one on oil pastel, but they ultimately decided not to so it.
It's worth thinking about.

Pat

starblue
06-03-2007, 02:06 PM
Hey, Angela. Whaddya mean, "you're sorry you didn't start [this project] with the rest of you?" Don't be sorry--start now! You'll have company. I haven't started mine yet. I have printed off the lesson, though, and bought the paper for it yesterday.

I'm debating whether to paint it like Pat or do some things differently. For example, I'll probably draw the checks completely first, and she didn't (she says later she wishes she had, so that's one advantage of starting late). But if I do things differently, I won't know for sure if I'm getting the benefit of Pat's teaching. If I'm going to ignore the teacher's techniques, than why take the class? But the fact that the class is virtual means I can't see every stroke she does and ask questions on the spot, so things will unfold on my drawing table differently no matter what. I'm not going to fret about it.

Jane also brings up a point I hadn't thought about. Do you lay down the base colors first and then add shadows, or incorporate the shadows as you go. (My first thought would have been the former.) I didn't even realize there were two approaches as I read through the tutorial. Something to consider.

And Pat, it's a pity about the book. I think you would've written a good one.

Pat Isaac
06-03-2007, 04:15 PM
Thanks, Bob, regarding the book. Who knows, maybe someday....:rolleyes:

As far as doing things differently, I encourage it. In my teaching I never wanted to turn out carbon copies, but take what you need from the lessons and make it your own. Nothing is cast in stone and if some of this helps all the better, there is no right or wrong way. I still take classes and I take them because I always feel that I can learn something and I do. I take that and incorporate it into my art. So no fretting....
As far as patterns go, it has always been my rule to do the pattern first and then add the shadows. This works for me and it can certainly be done another way and what works best for the artist.
I am slow at getting posts up so I hope others who think they are behind will certainly join in. this will be here for awhile.

Pat

Pat Isaac
06-04-2007, 06:16 PM
Here is another update. I was very frustrated today as I planned to get so much done, but kept getting interrupted because of our studio situation. :eek:
Anyway I did get some done and here it is. http://www.wetcanvas.com/Community/images/04-Jun-2007/35760-color11.jpg I worked on the shadow under the melon and some of the seeds on the plate. I also used the color shapers that I said I would show and I really like these harder ones.
http://www.wetcanvas.com/Community/images/04-Jun-2007/35760-color_shaper.jpg I was using this flat one to smooth out the squares and the pointed one to blend the seeds on the plate. http://www.wetcanvas.com/Community/images/04-Jun-2007/35760-color_shaper1.jpg I worked on the shadow and the seeds, without adding any new colors. This is a close up of the seeds on the plate. http://www.wetcanvas.com/Community/images/04-Jun-2007/35760-plate_seeds.jpg I continued the cloth to the edge of the plate and added some seed reflections on the plate.

Pat

TBond
06-04-2007, 07:13 PM
Pat, it looks great! What way do your shapers work? Do you just push some colour with them?
As for me, I've also done some work on the plate and shadows but it's late now so I'll post my update some other time.

Pat Isaac
06-04-2007, 07:24 PM
Thanks, tanya. Yes, I just push them around. The first ones that I used didn't work at all for me, but they were very soft. These are great! and they move the OPs around perfectly.

Pat

hopalong
06-05-2007, 07:58 AM
Pat, its so helpful to see these images up close. Thanks so much for all your hard work.
I've been using the medium hard shapers for awhile now and I love them. but I have one that is like a #3 round and its too floppy to be of much use in a tight spot. I'm going to try the black one (the hard) in this shape and see if it behaves better.

You are a wonderful teacher and a fantastic artist!!! I admire your willingness to learn and work hard at your art/craft. (Some are insulted about the "craft" part but I mean to say that art has an expressive side and a technical side. You are great at both.)

Pat Isaac
06-05-2007, 08:24 AM
Thanks, Lindsay. I'll have to look into those hard shapers. I haven't seen them. It might be useful to have a few hard ones. I do still like the tortillions for some areas. Yes, the technical part is a craft.

Pat

AnnieA
06-05-2007, 12:36 PM
Pat: Thanks for the closeups of the details. I have a white color shaper (the smallest size) that works pretty well for some detail work, but I can see from your demo shot how a larger harder chisel shape would be quite useful too in achieving sharp edges.

I think you'd be able to turn out a terrific book if you had the time, Pat! This lesson ought to be incorporated if you ever do it. More instructional material like this is something that's sorely needed by us OP artists. I hadn't heard of the other book you mentioned, but now have it bookmarked at Amazon. Thanks.

Jane: You're almost done! It looks beautiful.

(Everyone else: forgive me for not commenting on your pieces. It's just impossible to keep up on these long threads when one is on dialup.)

LJW
06-05-2007, 01:28 PM
Thanks Annie. Pat, thanks for the update with the closeups. I would love to have you write a book. If there was more information available, there might well be more artists who would use OPs. If I hadn't found this Forum on WC I would never have tried OPs, and they are now my primary medium. I'm learning a lot doing this project, and I think it's already showing in my landscapes. Jane

TBond
06-05-2007, 04:29 PM
Pat, you would write a brilliant book on OPs!
Here's an update from me. I had a tough time with the checks and they might be looking too grey/colourless, but it seems to be a great learning experience. This is my second attempt at realism in still life in large ( :lol: ) format and it looks much more real than the first one:) And I'm becoming more and more patient as well:)

Pat Isaac
06-05-2007, 08:13 PM
Thanks, guys....:heart: Your painting is really looking very realistic Tanya and I am having a tough time with the checks...:eek: You are doing great, not colorless at all.
Not sure about the book, but nice to have a cheering section...:lol:

Pat

Pat Isaac
06-08-2007, 05:02 PM
have another update, but can't download my pics because of a computer glitch. :eek: :mad: I hope to get this fixed soon. Stay tuned...

Pat

Pat Isaac
06-09-2007, 06:51 PM
Okay the problem is fixed. Here is the latest update. It is coming to a close soon. http://www.wetcanvas.com/Community/images/09-Jun-2007/35760-color12.jpg Here also is a close up of the seeds on the plate. This is what I mostly worked on and the shadow under the melon.
http://www.wetcanvas.com/Community/images/09-Jun-2007/35760-seed3_closeup.jpg no new colors added.
Now it is mostly the cloth that is left..:eek: More next week.

Pat

artbyjune
06-10-2007, 02:54 AM
Lovely, Pat. I like the way you suggest the glass plate with shadows on the cloth underneath it!!

Hi Tanya, I like your fruit study too. I think the cloth looks colourfull; not grey at all!

TBond
06-11-2007, 02:09 PM
June, thank you:) I still think that my shadowed checks are a bit too grey and I didn't add any reflected colour in my shadows as I was afraid to make a mess:)
Pat, it's coming along nicely! I envy your patience (not to mention outstanding talent:lol:)
Well here is my finished piece and I would really appreciate some critical comments. I'm going to give it to my friend tomorrow so I have just one evening to fix anything that needs to be fixed - please let me know what you think!!!!
Tanya

Bringer
06-11-2007, 02:26 PM
Hi,

Where having some great works here !

Kind regards,

Josť

Pat Isaac
06-11-2007, 03:46 PM
I think you have done an outstanding job with this Tanya.:clap: I love the fold on the right side. I am opting to leave it out of mine. The only nit pick I have it to maybe make the shadow darker under the plum.
Your friend will really enjoy this painting.

Pat

TBond
06-11-2007, 05:08 PM
Pat, thank you! I agree it should be darker, so I'm going to fix it now!

LJW
06-11-2007, 05:47 PM
Tanya, your painting is fabulous. Your plate and it's cast shadow are so realistic. I'm going to have to emulate your shading on the fold, since Pat's leaving it out!!! Hope you don't mind. Your friend will love this. Jane

Pat Isaac
06-11-2007, 05:56 PM
Sorry about that guys, but I think I was cropping closer....

Pat

AnnieA
06-11-2007, 08:12 PM
Terrific job, Tanya! I agree with Pat about adding a little more shadow. I think when and if I try this piece myself, I'll use your method of labeling the squares to make it easier to know what color to put down. Your friend will love this - what a great present!

Pat: Glad your computer problems are straightened out. You really should do the book - you're a great instructor!

hopalong
06-11-2007, 09:21 PM
Tanya!!!:clap: Lovely job!

Pat Isaac
06-11-2007, 09:25 PM
Thanks, Annie. Just seems like a HUGE undertaking.

Pat

Pat Isaac
06-12-2007, 04:33 PM
Here is another update. Slowly this cloth is shaping up. I hope to finish this week. Just the cloth, right.....:rolleyes:
http://www.wetcanvas.com/Community/images/12-Jun-2007/35760-color13.jpg

Pat

Pat Isaac
06-18-2007, 05:00 PM
Here is another update. I think it is mostly finished except for the feww checks. I finished the shadow under the melon and blocked in many of the remaining checks.
http://www.wetcanvas.com/Community/images/18-Jun-2007/35760-color14.jpg

Pat

artbyjune
06-20-2007, 01:52 AM
Beautiful work, Pat.

Makes me feel like getting back to my OPs soon!!

LJW
06-24-2007, 10:21 PM
Well, here's my final? version. I notice I've got some white ghosting at the edges of the white shaded squares in the plum shadow which need fixing. What else needs attention? Have I missed anything? This was a challenge that's for sure, but a good learning experience. C & C welcome. Jane

artbyjune
06-25-2007, 12:10 AM
It looks great, Jane!

Pat Isaac
06-25-2007, 07:40 AM
Excellent, Jane. You did a great job and it is ready to frame. I need to finish mine now....hopefully this week.
I'm glad that you found it helpful.

Pat

Swerman
06-28-2007, 10:21 PM
Hi All. I'm new to the OP forum and I'd like to say how impressed I am with Pat's demo and everyone else's art work. This has been an excellent thread.
-Sandy

Pat Isaac
06-29-2007, 08:19 AM
Hi Sandy and welcome to the OP forum.:wave: Thanks for your nice comments and I really do hope to have a finish by the end of today. Do you work in OPs?

Pat

Swerman
06-29-2007, 10:45 PM
I'm relatively new to oil pastels. I work in a variety of mediums but I mostly work in soft pastels.

-Sandy

Pat Isaac
06-30-2007, 07:36 AM
If you have questions, Sandy, just ask and we'll be glad to help.

Pat

Pat Isaac
07-03-2007, 04:31 PM
Here is another update. I had hoped to finish it off today, but my studio situation keeps getting in the way. Anyway, only a little more.
http://www.wetcanvas.com/Community/images/03-Jul-2007/35760-color15.jpg
Pat

LJW
07-03-2007, 05:53 PM
Pat, you're nearly done. :clap: The cloth colour you chose makes the scene look bright and cheerful. I notice two places where the pattern goes awry. In the left lower corner, there is one white square which should be the deeper blue. That's easily fixed. But, touching the plate in the left upper area, there are two deep blue squares beside white squares - that can't happen. White squares are always surrounded by light blue, and only touch dark blue at the corners. In this case, I'm not sure that there is a quick fix. If you change those to light blue, which they should be, then it puts the column closest to the edge out. Sorry. I know how frustrating keeping the pattern lined up can be. It must be hard to concentrate with the concern over finding a new studio interrupting your painting. Jane

Pat Isaac
07-03-2007, 06:09 PM
:eek: I was hoping that no one would notice that...but your eagle eyes are there. As I was doing it I thought OH NO....it's not working....I may try to fix it at some point, but for now there it is.....I am not sure what happened, but it was probably because I thought I could do the patteren as I went along...obviously not so. It has been frustrating trying to do work and deal with this studio thing.
Thanks, Pat

Finnegan18
07-07-2007, 01:17 PM
Does anyone use finger cots for blending? I noticed Pat has a naked finger blending in one of her pictures in this thread. Are they helpful at all with OPs or are they useful with SPs? Just wondering before I invest anything in them (not that they cost much).

Pat Isaac
07-07-2007, 01:30 PM
I tried those for awhile and also the gloves, but I really need the tactile feel of the OPs. They just were in the way for me. I much prefer the bare finger. I don't know if any other OP artists use them, so far I don't recall any.

Pat

LJW
07-07-2007, 03:06 PM
I use a rubber finger tip from the stationary store for blending large areas. Is that the same as a finger cot? I don't really like to get my fingers too dirty, but occasionally a bare finger will blend better than anything else due to body heat melting the OP slightly. Jane

Pat Isaac
07-07-2007, 03:52 PM
I think it is or at least I assumed it was. I didn't know you used one Jane.

Pat

Finnegan18
07-07-2007, 03:54 PM
I use a rubber finger tip from the stationary store for blending large areas. Is that the same as a finger cot? I don't really like to get my fingers too dirty, but occasionally a bare finger will blend better than anything else due to body heat melting the OP slightly. Jane
Dick blick sells them (I am sure they are available everywhere). They look like little condoms, if you don't mind the comparison, for fingers. They come in small, medium, and large (okay, I know some of you are chuckling a little bit now). I was wondering if anyone used them, if they rolled down or were hard to keep on (more chuckling I am sure).

Pat Isaac
07-07-2007, 04:04 PM
:lol: :lol: :lol:
The few times that I did use them, they moved around a lot and I didn't have the control that I wanted.


Pat

Finnegan18
07-07-2007, 11:10 PM
Thank you I thought they would be hard to use. :D

cat1lady
07-14-2007, 01:25 PM
I can't believe what a great job everybody has done.
Pat, a big THANK YOU is in order.
I have been watching but my computer is more slow than you can possibly imagine and I can't always log on, although I can and have been observing.
I kind of gave up on mine. I liked the plate and fruit but the table cloth was going to require too much overworking. And knowing I am one who tends to overwork everything, I've tried to teach myself to just stop. I plan on doing it again on larger and darker paper. I'll consider this one my PRACTICE.
I printed it out small and it looks good that size. I think it would make a good note card.

Pat Isaac
07-14-2007, 03:13 PM
Thanks so much, Katy. I just have to fill in a few more squares and it will be done. I hipe to do it Monday before I continue packing up my studio. I'll look forward to seeing your future try.

Pat

Swerman
07-14-2007, 09:39 PM
A rubber finger from a stationary store is much thicker than a finger cot and sounds like it would be a good blender. Pat, if your finger cot slipped around on your finger it was probably too large. That said I too prefer my bare finger after applying barrier cream.

-Sandy

starblue
07-15-2007, 12:46 AM
To the rubber finger folks: :lol: try an art gum eraser--it blends OP's really well, doesn't leave crumbs behind (this is what surprised me), and blends differently than stumps.

To cat1lady: Escalating work commitments have shorn me of my spare time, but I still intend to do Pat's project. So if you want to do it over, please do--I can guarantee you, you won't be the last person through.

Pat Isaac
07-15-2007, 09:32 AM
:eek: ....exactly, Bob. Even I haven't quite finished..


Pat

Pat Isaac
07-16-2007, 04:37 PM
Okay, everyone, I think I have finished this now. There may be a few tweaking places, but I have to deal with the move to a new studio space, so the OPs will be going away for a month or so.:crying:
I am glad that you all found this helpful.
Sigh, I forgot the image...it is in the next post.

Pat

Pat Isaac
07-16-2007, 04:39 PM
Here it is..
http://www.wetcanvas.com/Community/images/16-Jul-2007/35760-color16final.jpg

Pat

LJW
07-16-2007, 07:50 PM
Congratulations, Pat and thanks so much for showing us how to do this still life. I learned a great deal in the process, including how to work more slowly and carefully, and how to use colour for realistic effects. I really appreciate your having taken the time to do this classroom for us. :clap: Jane

pastelle
07-17-2007, 12:41 AM
:cat: Incredible painting, Pat! I just logged onto this thread for the first time tonight and got to view the whole demo in one sitting. Your colors are absolutely luscious. Your generosity of heart and amazing skills are so very appreciated. I for one would definitely buy your book if you ever decide to write one. Six additional paintings photographed in progress would likely do the trick, don't you think? Even if you don't have plans for a book now, I suggest you photograph the progress of your next few paintings and see where that takes you. There is a lack of good contemporary oil pastel instruction books. I've had to piece together what I know from drawing, painting in oils and working in soft pastels to reach a minimum level of comfort zone in oil pastels. At any rate, thank you so much for sharing your time and talent with the rest of us.

Pastelle

Pat Isaac
07-17-2007, 07:42 AM
Thanks, Jane and pastelle. I may try that.

Pastelle, would love to see you post some of your work in the forum.

Pat

AnnieA
07-17-2007, 11:15 AM
Pat: Just gorgeous! The color and composition of your piece are outstanding, and your generosity and thoroughness in presenting this demo are much appreciated. Although I haven't painted it, I feel I've learned a lot by following along. You do so much to advance the use of OPs. Thanks very much, Pat. :)

And welcome to the OP Forum, pastelle! :wave:

RooGal
07-17-2007, 08:20 PM
Pat, I have been following this thread for the past few weeks because I just love the whole piece. :thumbsup: I will probably do this class in soft pastels (one of these days). At the moment I find the check tablecloth a bit daunting and in my mind that is part of what makes this such a cheerful painting. One of the beauties of a classroom here, I can proceed at my own pace. Thank you so much for sharing this with us.

Cheers,
Pam

Eggy
07-17-2007, 09:05 PM
I have been looking at and reading the whole "lesson" because I am planning to write two chapters on oil pastels later on this year/beginning of next. A friend of mine has moved from soft to oil pastels and looking at his work, I thought that the way he explains the execution of his work is very similar to your own. However, I am also very much impressed by how your "students" made progress with the piece (particularly the troublesome patterned cloth) and was wondering if the whole task could have been videod (ala YouTube ...speeded up where necessary) along with commentary. This way it might make those who use soft pastels think about oil pastels.
I spent a whole year in Switzerland (2003/4) concentrating on oil pastels, but unfortunately I returned to soft and now I rely a bit too much on them for sketching (along with WCP, charcoal etc). Now, having spent last month with my friend (and looking in at this forum), I intend to start where I finished in 1994. Sennelier will, ofcourse, be my choice and I sincerely hope to be popping in to join your forum.
Lovely work.
Kind regards,
Eggy

Pat Isaac
07-18-2007, 07:29 AM
Thanks, Eggy and I would be interested in reading your chapters when you write them. What a great experience to have spent a year in Switzerland and doing just oil pastel! Do you have any paintings from that time to post?
I never thought of videoing the lesson and I am not sure it would have worked at it took me a while to do it. Yes, the patterned cloth was troublesome... and I did use mostly Senneliers on this with some holbeins.

Looking forward to seeing your posts.

Pat

Eggy
07-18-2007, 08:02 AM
Thank you, Pat.
I think I made my visit to Switzerland sound like a labour of love by just using oil pastels.....it was a "Pastel Year" (soft and oil pastels). However, I loved working in this medium and experimenting with the different brands (still think Sennelier is the best,though !).
Well, Pat, maybe you will be able to video a less complicated demonstration of your work in the near future.

Kind regards,
Eggy

haridasa67
08-06-2007, 09:42 AM
Am in too Pat. Thanks for doing this tutorial.
Is there somewhere on wetcanvas one can learn how to transfer drawings?
Anoop

starblue
08-06-2007, 01:43 PM
Hi Anoop. Pat discusses how to transfer a drawing, starting around post #16 in this thread.

Pat Isaac
08-06-2007, 04:14 PM
Thanks, Bob and anoop, I am glad that you are going to try the classroom. If you have any questions along the way, just ask and please post your progress.

Pat

bluefish
10-12-2007, 11:03 AM
Boy, would I like to sink my big, orange teeth into that melon!!!!!!!!!!!

Beautiful painting and really great demo - thank you so much, Pat - seeing your wonderful work has stimulated me to get the 'oilies' out again!

waiting for those 'bluefish' to arrive - :wave:

Pat Isaac
10-21-2007, 02:38 PM
Thanks, bluefish and I hope you get those oilies out soon. Just got back from Italy, so I haven't gone fishin' lately. The fish in Italy aren't blue, a little orange maybe.

Pat

Chloe_1
10-24-2007, 12:47 AM
Tks. Pat for doing this demo ;-)))

Pat Isaac
10-24-2007, 06:58 AM
You are welome, Chloe. I hoped it helped.

Pat

Leo1903
11-03-2007, 09:36 PM
Pat this was a great thread! The table cloth (especially as seen through the transparent plate), made the subject matter very complex but your finished piece as well as all other contributing versions were great and very inspiring.

Leo

Pat Isaac
11-04-2007, 10:54 AM
Thanks, Leo. Did you try it?

Pat

Leo1903
11-04-2007, 08:19 PM
No Pat I didn't attempt the lesson but picked up some tips just the same (thanks). I've been busy a good part of this year, so have had to put my OP on hold but am now just getting back into them and hopefully I may be able to start even posting periodically.

Leo

Pat Isaac
11-05-2007, 07:23 AM
That's great, Leo and I'll be looking forward to your posts.

Pat

marsias
11-30-2007, 01:10 PM
Hello Pat.

I have finally take a picture of my painting which i have made following your WIP.
Oilpastels was Van gogh on canson paper. I am not happy with this Brand ... i have ordered a set of 24 Senneliers.
As i wrote before i am not happy with the Shadows(violet) and the underground which i had not paint(cloth in your wip)--Here is something missing.
http://www.wetcanvas.com/Community/images/30-Nov-2007/122064-30-11-07_1827.jpg

Any suggestions are welcome!
Pat because your Wips are very excellent ...if you have time i wont to see another wip from you with Subject Portrait in oilpastel:clap:

Many thanks for you Wip and comments before.

Pat Isaac
11-30-2007, 01:40 PM
I'm glad you are trying the still life. I think you have done an amazing job with what you had to work with. I never liked using Canson paper as I found it was very difficult to blend the OPs. You will really find a big difference with the Senneliers and you might want to try some different papers, especially some of the sanded ones, like Art Spectrum Colorfix or Wallis.
I think your glass plate came out especially well and the transparency shows. Nice color throughout and the purple doesn't bother me. I almost bagged that cloth a few times myself...
I'll think about the portrait WIP, but probably won't be until the new year. Here is a link to one I did last year.
http://www.wetcanvas.com/forums/showthread.php?t=301392

Pat

JuliaArtz
12-01-2007, 02:26 AM
Pat,
Being new to OP I really need this kind of teaching/instruction. I have been thinking of trying to do a still life in a realistic style.
Thanks for the tutorial:thumbsup:
Julia
http://oilpastelblog.blogspot.com

Pat Isaac
12-01-2007, 07:34 AM
You are welcome, Julia and feel free to post progress and ask questions. We are all here to help.

Pat

starblue
12-22-2007, 04:54 PM
To any posters to this thread that had expressed interest in this project but never got started :angel: , to lurkers wanting an excuse to join in :cool: , and especially beginners who are unsure of their abilities :), out there who have wanted to paint Pat's still life but have felt reluctant to start it at this late date, you can join me, another beginner, who will take a crack at this painting right after the New Year's. I said I would do this back in August, but because of part procrastination and part external events, that hasn't happened. So I figured I'd put in a stake in the ground here and now to commit to this. After I have finished, it may be determined that I should have put the stake through the paper, in which case you'll get to see the disaster unfold. :eek: Either way, please join me then. :wave:

Pat Isaac
12-22-2007, 05:01 PM
That's just great, Bob and I look forward to your participation. I doubt that you will have to put the stake in the paper....:lol:

Pat

LJW
12-22-2007, 05:50 PM
I'll be watching for your's, Bob. Don't let the cloth get you down - it's tricky but doable. Jane

starblue
01-16-2008, 07:22 PM
For all you latecomers, lurkers, and procrastinators to Pat's demo, here's your chance to join in as I embark on this adventure. :cool:

I had to print out Pat's demo since there's no computer in my "studio" (a corner of the bedroom). I'm working at a Berkeley drafting table. I've taken a 50x70cm (~20x28") sheet of "Deep Ultra" Colorfix paper, cut it into quarters, and mounted one with Scotch #230 1" drafting tape onto a piece of Masonite serving as my drawing board. Since this size is smaller than Pat's demo (at 15"x17") but larger than a single sheet of computer paper, resizing the refpic to fit meant I had to print it in pieces, which you can see in the first photo. Although I intend to follow Pat's demo pretty closely, compositionally I didn't like the way the plate was chopped off, so I'm going to include the entire plate in my picture; hopefully I can extrapolate the missing bits, something risky for a beginner. I also plan to include the ripple in the cloth.

http://www.wetcanvas.com/Community/images/16-Jan-2008/83719-P1220740-wc.JPG

Once I had my resized refpic, I went over the entire backside with a General's white charcoal pencil. Seeing white against white isn't so easy. :eek: Never having used white charcoal before, I was concerned it would be as messy as black charcoal, but it's not bad at all (at least in pencil form). Then I turned it back over, taped it down at the top to the Colorfix, and traced it with an F pencil. The result is the second photo. Once I figure out how much left side to include to get the entire plate in, I'll put tape down all borders so I won't paint past them.

http://www.wetcanvas.com/Community/images/16-Jan-2008/83719-P1220742-wc.JPG

That's where things stand right now, so it looks like I'll be about as slow at getting it done as everyone else that's worked on this image. If you'd like to join in, then be my guest. It's going to get lonely plodding through all those checks. :lol:

LJW
01-16-2008, 07:39 PM
Bob, it's great to see you finally getting going with this. Will be watching your painting develop. Jane

Pat Isaac
01-17-2008, 08:21 AM
That's fantastic, Bob. I'm pulling up a chair to watch....ah, yes, those checks. Here is a photo with the whole plate if you want the reference.

Pat
http://www.wetcanvas.com/Community/images/17-Jan-2008/35760-plate.jpg

starblue
01-19-2008, 02:28 PM
I've got some undoubtably silly beginner's questions, but I'll get to those in a moment.

This first picture shows the entire drawing transferred and expanded to show the edge of the plate, the squares lettered to show their position in the cloth pattern, and the paper taped down to its final borders. So far so good.

http://www.wetcanvas.com/Community/images/19-Jan-2008/83719-P1220744-wc.JPG

Next I went through Pat's tutorial and pulled all the sticks I would need. Then I started off on the melons. I did identify one error in the tutorial: the color of the back melon is a H.10A2, not 10A4 (probably because we didn't resolve the issue of how Holbein numbers shades in a hue until later on: 1 is darkest, 5 is lightest).

http://www.wetcanvas.com/Community/images/19-Jan-2008/83719-P1220746-wc.JPG

The next picture is a closeup. It's underexposed so the colors are off but it shows my issue. The colors used in each melon (both Senn and H.) seem to be semitransparent and I can't cover the paper color completely, leaving "blue shadows" in places, although there are no obvious holes anymore. You'll note how splotchy it looks, and it's quite apparent in real life.

http://www.wetcanvas.com/Community/images/19-Jan-2008/83719-P1220750-wc.JPG

I've let the picture "set" each night (which is why I haven't made more progress) and added another layer the next day, but I'm not getting solid color down. I've got 4 layers of the Senn #18 on the front melon--I can add a Senn layer easily enough and it looks like I am making progress with it slowly, but it'll be an impasto before I'm done. The H.10A2 on the back has 3 layers (the original wrong color and then 2 layers of the right color), but the stick doesn't seem to be depositing any more color down, and any attempt to move what's there around with a color shaper or a stump just exposes the blue from where you pushed it from.

(The Holbeins in general are much harder to push around than the Senns, and if you tilt the paper to the light just right, you can tell which is which: the surface is waxy-looking and a bit shiny where the Senns are, whereas the Holbeins are flat matte--just an observation.)

My questions to Pat are:
- How did you get the color to cover completely--or maybe you didn't, and it's the small scale of the pictures that hide that fact, and I'm just worrying unnecessarily?
- I assumed that, with such toothy paper, I could add the seeds on top after the melons are done. Now I'm not so sure. Am I going to need to erase those areas to be able to add them?
- Can you elaborate on how you "push" color up to an edge on this paper? I left gaps between the colors since I can't draw that precisely with a stick. The Holbeins in particular resist pushing with either a stump or a color shaper, and even if I can move the color it leaves a "blue shadow" behind.

I don't recall the Strathmore paper I've been using being so "grippy", so it may be partly the Colorfix. It's cold here so maybe the colors are stiffer than usual. Maybe I'm just impatient. Maybe I just have to accept the transparency bit. But any helpful hints you have would be appreciated before I go further.

Pat Isaac
01-19-2008, 03:28 PM
Looks good so far, Bob and no questions are silly. Sorry about the Holbein numbering. I finally remember it now.
I went back an looked at the thread and I used Senn #220, mandarin orange to blend with the Senn #18 on the front melon and I also used it on the back melon. I did add some white to the from melon. At this point I was only blending with my fingers. The transparency did drive me nuts for awhile. It always does when I use any kind of yellow. When I did this classroom, I hadn't started using the color shapers, but did use the tortillion stumps for edges. I would go almost to the next color and then blend the 2 together along the edges. I also sometimes put a little color on the stump itself.
Colorfix is more grippy and the cold certainly does affect the OPs. Just try getting closer and then push the OP to the line. It doesn't have to be totally exact as the melon edges aren't. I would put in a suggestion of the seeds now and not wait until you have more layers.
That numbered cloth is amazing. I missed a place in mine because I didn't do that. Thought I could just work along and it would come out right...:lol:

Does this help?

Pat

LJW
01-19-2008, 04:52 PM
Bob, I'm going to jump in with my two-cents worth. I actually used a palette knife to apply some of the yellow and orange to the melons, because I was having exactly the same problem. My melons are very impasto (see post #87 this thread). Jane

starblue
01-19-2008, 11:08 PM
Thanks for the comments. I'll try the Senn mandarin next and see if it provides better opacity. Since my painting's smaller, blending with fingers hasn't been very viable, and shapers and stumps are what I've used instead. And that's very interesting about the palette knife, Jane. At least I'm not the only one that had trouble with the transparency. I'll give everyone's suggestions a stab.

Three quick questions re the tutorial instructions:
- What's the color name of Senn #10, and what Senn or Holbein comes nearest to it? Senn #10 isn't made anymore and didn't come in my 125-count box. It's used on the plum.
- You used 4 reds on the plums. Did you use 2 reds on one plum and 2 on the other plum (as the diagram would seem to indicate) or did you use all 4 reds on each plum? I suspect the latter.
- What white did you use, Holbein or Senn? Again, I suspect the latter.

Pat Isaac
01-20-2008, 10:13 AM
The Senn # 10 is called carmine and it's true that it no longer exists. I did use all 4 reds on the plums and Senn white. I'm not sure what red would be closest to #10 as I'll have to wait until I go to my studio tomorrow and look at the colors. Maybe someone else will have a thought before that. My computer is at home and all my art supplies are in the studio, but I'll check them out. I remember I was upset when they discontinued that red as I like it a lot. It is a nice medium red.

Pat

bnoonan
01-28-2008, 12:15 PM
I'm a few months late - but Pat this is amazing. How did you develop so much patience?

Great colors! It's a winner alright!!! Barb

bnoonan
01-28-2008, 12:16 PM
Oh I failed to mention - all the other great pieces that were painted along the way!!! Kudos to all of you who followed the directions of a great teacher!

barb

Pat Isaac
01-28-2008, 04:05 PM
Thanks, Barb. These classrooms are fun when I think I have the time. Sometimes, I miss teaching and this fills the need as I don't really want to commit to a class situation every week.

Pat

Beautiful_Butterflies_Studio
02-21-2008, 07:56 PM
thankyou soooooooo much for this lesson, I will give it a go, but I am using student-grade OPs, will this be a problem????

Pat Isaac
02-21-2008, 09:57 PM
No problem at all, it is not important that you match the colors exactly. What OPs are you using?

Pat