Simplifying the Edges –

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Good morning.  Today I’m talking about a painting I had at the Flower Pepper Gallery’s Summer Show.  This is a still life of orchid leaves inside a copper pot with an orange.  In the setup, there was also a pear, but I knew I wouldn’t finish the pear if I added it – and the composition made it look very odd, too close to the edge of the panel, so I made the decision to leave it out.

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Composition: When I’m coming up with an idea of how I want my painting to look, I often take a photo, and crop that photo to the size of my canvas on my phone.  This way – I can see different placements of my objects and how they would affect the viewers eye.  I also use the View Finder (the small gray square with retractable window) for finding composition, but in this case I did it on my phone.  Since I had trouble with the pear, I left it out entirely.

Painting: You can see here that I have in more or less simplified ALL areas of my colours that will be taking up the whole painting.  This is only about 30-40 minutes in.  A huge advantage of this is that if I don’t want to get too detailed, I can simply leave it as is, and its a more abstract painting.  If I don’t “finish” I won’t have something that looks clearly unfinished, I’ll have a fully realized painting, just some areas will be more abstract than others.

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Here I’ve started to add some details, particularly the large swathes of lights and shadows on the copper and leaves.  Pay attention to each object as it’s own object, so a full value range for the leaves, and also the object as it relates to other objects.  Some of the darkest areas on the painting ended up in the leaves, and the leaves and orange both have reflections on the copper pot.

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The finished painting.  As you can see I really enjoy painting copper and shiny objects.  It was a fun challenge to show the warm light and the two soft, cool, window lights that also affected the pot.  I loved doing the reflection of the orange, and pushing that dark shadow in the leaves that really made this pop.

Thank you for reading.

The Papaya – Oil Painting tips from Los Angeles Gallery of Art K.L. Britton

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The Papaya

Oil on Panel 8″x8″

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I am very lucky to be surrounded by people who love art.  I met Marian at the Sean Cheetham workshop, and she invited me to work in her studio once a week.  We get together with some very incredible artists and practice speaking Mandarin and English, teaching each other about painting, and learning from Masters.  Here is our selection this week, with my Edge Pro Gear Paintbook Pro as my go-to for longer sessions, although with the 8″x8″ size of my panel, the Sketchbook Pro would have done very well.

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Our setup, some rich, luscious papaya slices and grapes!  Looked delicious.

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Here is a picture with my palette part of the way through.  Here you can see each “section” has it’s own area on the palette.  I can use these to mix with one another in order to show things like bounce light.  Ex, the green went into some of the shadows because the grapes were getting the light through them onto the fabric shadows.  Think about these things and mix enough of your colors that you can use some of it in unexpected areas.

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I almost would have loved to do a larger piece of this – get in there with a small brush and add detail, but I’m always on a time limit.  I do enjoy the way this looks finished, particularly the grapes!

Howdy – Portrait Painting Tips from Los Angeles Gallery of Art K.L. Britton

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Howdy

Oil on Panel 8″x8″

Available at Flower Pepper Gallery 

So this was an interesting small portrait I wanted to do because, as you may know, I am a Southwestern type, and I love Western Art.  I grew up in Arizona, which had a huge influence on me as I was surrounded with traditional realism and fantasy combined.  When the rest of the art world went modern, Western art stayed strong, depicting gorgeous images of desert landscapes, horses and cowboys, Native Americans, and so many other wonders of historical and modern times in the West.

Growing up, my home was full of artwork, from a detailed landscape with lightning, to some fun plein air paintings in the bathroom, and colorful coyotes in a bedroom, art has influenced my life forever.  I stared at paintings for hours, picking out details I’d never seen before or simply wanted to appreciate one more time.  I plan to enter more into the world of Western art, because it’s so much in my blood.

Thank you for reading.

Figure Painting Processes and How To – K.L. Britton Art Los Angeles

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Spirit Animal

$350.00

18″x24″ Oil on Canvas

US Shipping included

Buy Now 

 

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The creation of this painting was inspired by reference photos of my lovely model.  I also had an idea that I wanted this cool theme, but wanted some major areas of contrast so her body wouldn’t be the focus of the painting.  To do that I surrounded her black hair with a white “halo.”  This adds the pop that lets you look at her face before you move to the rest of the painting.  Lately, I have been considering my composition a lot in advance of painting.

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This is the final painting, although the white balance on this photo is a bit on the warm side.  The background is a dark, dark blue, which is enough to really come out with the strong contrast of golds and yellows I used in the background that are mirrored in her headpiece.  She is wearing a rattlesnake tail with turquoise – reminiscent of her background of growing up in the Southwest, and her spirit animal, the Rattlesnake.  She wears shells in her hair to show that she has traveled to the ocean, and moved a long way from the desert she first belonged to.

Also she’s hot.

 

Thanks for reading.

A few studies – and videos. Painting Tips and Tricks

How to get your painting to show the focal point you want – or how to deal with competing focal points.

Here is a small, 6×6 painting of a couple roses:

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In order to make the front rose into the focal point (actually, if you look at the back roses, they aren’t even roses, just some brush strokes!) I deliberately darkened and muted every single mixture I used for my back roses.  The front is brighter, higher saturation, and more detailed, which is why your eye naturally sees it as the focal point.  Always keep this in mind when you’re having trouble with a busy painting.  I also have the entire process of this painting published on youtube at Los Angeles Academy of Art‘s feed:

These videos show the full, uncut process of how I mix my paints, and how I put them on the canvas in the most easy way possible.  All done on my Edge Pro Gear Paintbook which I adore.

If you have any questions, feel free to ask!

 

Thank you for reading!