Re: Underpainting Techniques - Demonstration Two -Woodland Phlox
Thanks for the kind words, and for letting me know your thoughts about my book.
As for pears rolling out of position, I might suggest stabilizing them with toothpicks strategically inserted. If they're visible from your vantage point, of course you can just pretend they aren't there, and paint as if they were not. I often use tape, pins, toothpicks, or whatever will help hold things in the position I want for the painting in question.
The great thing about still life painting is that it facilitates working from direct observation of a stationary subject. That kind of practice is much more beneficial to an artist's continuing development than depending on photographic reference, which is totally unnecessary in still life. One always gains something from working from direct observation, no matter how advanced one is as an artist.
I've made myself very unpopular on more than one occasion when speaking before groups of artists by saying that the best thing 99 percent of painters could do to improve their skills is to lock their cameras in a drawer and leave them there for fifteen years. When I make that speech before an art group, that's usually the last time they ask me to speak at any of their events.
I'm glad to hear you understand what I'm talking about.