I said I wanted to let the Tuscan lifestyle influence my paintings. Little did I know that learning to cook, would teach me something about painting.
Since I had already learned to make Florentine Ravioli and Tuscano Pizza, I asked Chef Danilo to do a different cooking lesson for me and Muse Thalia. Seafood!
Unlike American Italian food, Tuscano Italian food is all prepared fresh. No heavy sauces. No meat balls. And no sauce from a jar!!!
Porchini mushrooms are available in the coop grocery. Simply sliced and a dressing of olive oil, flat leaf parsley, minced garlic and salt ~ delizioso!
A pot of steaming fish stock on the range went into everything. Along with the holy trinity of Tuscan cooking, garlic, flat leaf parsley and salt. This lets the fresh, clean flavors of the food come through.
Not to miss out on learning to make tiramisu, I asked Danilo to show us. He had purchased fruit so we made both; fruit desserts with the lady fingers soaked in liqueur AND tiramisu with them soaked in expresso, topped with chocolate.
So simple to make and not so sweet or rich. Eggs, cheese, lady fingers, a touch of sugar and voila! Tiramisu!
Lots of rain this week. An opportunity to work in the studio, revisit street scenes, explore abstract compositions with a palette knife.
10 Steps to Palette Knife Painting
Palette knife painting is a great way to cut loose from details and express abstract design. Artists often express their desire to paint expressively.
Using a palette knife is a perfect way to create a strong composition, unified color palette and distinguished lifelike details.
Compose & Design
1 See Large Abstract Shapes
The natural urge to start with details is out of the question with a palette knife. Instead, start by blocking in the large abstract shapes. In this case, two large shapes dominate the composition; the building shape and the sky shape. (Yes, I wanted to paint the flowers ~ not just yet!)
The entire right half of the painting is building shape! To block it in, I noted its proximity to the mid-line of the composition. Intentionally violating the mid-line, at the top I edged the roof beyond it. Letting the sky shape dive deep into the composition with a narrow slit, set a counter balance to the large building shape.
2 Distinguish Warm & Cool Tones
To distinguish these two basic shapes, I chose warm and cool tones. For the building shape I used Gamblin Torret Warm Gray. The cool sky is Ultramarine Blue with Quick Dry White. Seeing these two large warm and cool shapes, roughly blocked in, creates the design for the whole painting in the first 10 minutes.
3 Distinguish Light & Shadow
The top part of the buildings is in sunlight, lower in shadow. To set up this contrast, I choose cool red (Cadmium Red Dark) for the shadows and warm red (Cadmium Red Light) for the sunlit areas. I mixed each of these into the Gamblin Warm Torrit Gray, adding a bit of Quick Dry White to make the values the same.
I blocked in the lower building shadows first, roughly with a small palette knife. Since this panel is small, the small palette knife I have with me is sufficient. Then I blocked in the upper sunlit sections.
Develop Meaningful Color Relationships
4 Unify the Palette
With the building only partially blocked in, I stopped to block in the sky shape. How the building appears in the painting is dependent on its relationship to the contrasting sky. It is important to establish this relationship early in the block in process. Waiting until the building is more established would disconnect these two important design elements in the painting.
5 Distinguish Textural Contrast
To paint the sky, I used Solvent Free Medium and painted with a 1″ flat wash brush. This created a contrast to textural palette knife painting on the structures.
Expressive Calligraphy & Details
A palette knife is much like a pen. Each person’s signature has a particular, recognizable personality. This signature often gets lost when painting with a brush. Strokes mush together.
With a palette knife, strokes stand apart distinctively. Personal calligraphy is much easier to see and enjoy. Notice the contrast between the simple vertical strokes used to express the facade of the building and the wiggly strokes of blooming flora. Another example is the simple vertical window shapes on the building across the street, against the shadowed facade of the structure.
7 Adding Details
Details are simply smaller shadow or highlight shapes. They are approximate ~ not exact! In this case, detail highlights are created with a slightly lighter, yellower version of the previous mixture of Warm Torrit Gray and Cad Red Light. I blocked these in to the upper part of the building.
Likewise, I added a bit of Ultramarine Blue to create a slightly cooler, deeper version of the shadow tones. (Warm Torrit Gray, Cad Red Deep plus Ultramarine Blue, with White to adjust the value) This creates the deep shadows in the lower portion.
8 Adding Contrast
In contrast to the structures, blooming geraniums cascade along the facade, How to put them in and have them integrated with the structure?
These contrasting shadows and highlights must be related to the palette which has been established in the painting. Continuing with my rule of painting shadows first, I mixed a green version of the cool shadow color previously used in the lower portion of the building.
Painting this shadow first anchors it to the shadows of the building itself. These shapes are approximate ~ not exact! Letting signature calligraphy be as it is, lets the artist’s own style emerge.
Note the difference between the shadow greens and highlight greens. Shadow greens (in the lower portion) are cool, Highlight greens are warm. These simple colors describe light and shadow of the foliage shapes. Letting a few stray strokes of calligraphy be without fussing over them, lends spontaneity and life to the painting.
10 Pops of Color
The Flowers? Yes, I finally get to paint the flowers! Like setting the stage for a fine soprano, the star sparkles only if left alone to do her own thing!
I used two reds to create the blooms. The cool Cadmium Red Deep, full intensity or with a slight bit of white creates the blooms in the shade. Cadmium Red Light, with a touch of Cad Yellow Medium pops the ones in the sunlight up.
Put them in and leave them alone! Like dotting the i or crossing the t in your signature, don’t think about it. Just do it!
I was blown away yesterday when we happened on this valley on the way to Poppi. How to decide which view to paint? My kind of problem! See what you think . . .
Painting in the Chianti Region of Tuscany, Pelagio is north of Florence.
I couldn’t get it all on one video, so I shot the second one from the other side of a restaurant which is tucked into this vineyard.
I blocked in the green fields first, rather than the darks. I wanted to position the triangular shape of the fields in the lower center of the frame.
I used a light transparent cool yellow green (Lemon with a bit of Cerulian Blue). This is the opposite of what one might normally do in blocking in the dark shapes in an oil painting. Like watercolor, this preserved my lights. It also made it easy to get my composition established quickly and accurately.
On site, I felt as though my darks were not dark enough. When I returned home however, not so. Instead I adjusted the lights. On location I had painted all the warm tones, light and dark. In the studio I added the cool lights
You can see in the photo of the painting on the easel in the field, all the greens are warm toned. In the final painting, you can see how the cool greens bring highlights onto the foreground fields and tree tops.
In addition I cooled the foreground shadows by over painting them with Ultramarine Blue, mixed with white to control the value. This created the depth I wanted in the painting, and also added intensity to the colors.
Returning two years later, I painted the same scene from another vantage point.