First things first here; Lisa commented (see “How Much Is This Painting Worth” and “Left Holding The Blog…”) that I needed someone to proofreed (sic) my posts. That, my friends, is planely ridiculous. I was going to JUMP on her spelling of proofread, when my daughter, Erika, warned me that it was a trap. Lisa was baiting me with that intentional misspelling; nice try.
I must give Lisa some credit, not on her proofreading skills, but her teaching. I was at the California Art Institute one evening when I happened to notice a painting of hers. It was the same metallic vase painted twice on the same canvas, one directly above the other. I was struck by two thoughts; they were very well painted and nearly identical, and why would you do that. She happened by just as I was looking. I asked her the purpose of the double painting. She answered with a question, “which has the brightest highlight?” The painting was to demonstrate the use of glazing vs direct painting to create highlights. It is one of those obvious things (once someone tells you), and is the basis for bright watercolor paintings. I had not thought of using the technique for oil paintings.
I used the glazing process on two paintings over the last 5 days I had off. I will post the pieces in the future. Sounds like a productive vacation; I used those two paintings, and started another, and would have started another if I could stretch canvas for shit, all in avoidance of finishing those other paintings. I have some serious mental blocks when it comes to completing a painting. It may be that once I actually call a piece done I have to face the fact it is yet another loser (or at least not the inspiring work I imagined at the start – which imagination lasts until about the third brush stroke), whereas if I’m not done, I might be able to save it.
Anyway, I did not work on the toddler piece so here is a painting of Vanessa at Descanso Gardens: