|Quang Ho Still Life Demo in progress (detail)|
|Quang begins with a "loose" washy block in of shapes|
|Quang's Still Life Setup|
|Quang started with orange/lilly area and moved on to adjacent shapes.|
- Support: Square-ish (around 30x 34?) double primed linen mounted on gator board so he can trim this easily if he needs to. Looked like a wonderful surface to paint on.
- Brushes: Both bristle (mostly filberts and egberts—long tongue like filberts) and softer mongoose brushes. He mentioned the British Rosemary brand. He cleans his brushes with Turpenoid Natural.
- Palette: Relatively large glass palette (with around 20 colors). He uses a variety of brands and noted he likes LeFranc white (something I will try). Medium: Odorless Turpenoid.
- He’s right handed and stands when he paints (stepping back a lot) and keeps the palette on a table in front (not to the side) of his easel as you can see below. Note this is a "classroom" easel.
|Quang's Palette--lots of color!|
|Getting to the final stages...Quang painted the table fabric last.|
- He learns more about painting from philosophy and science books than he does from art books.
- Be sure to consider the macro: What is the big picture—the main story you are telling? What is the light doing?
- On the flip side you need to be conscious of the micro: Even in a large painting each brushstroke matters. There are no repeats in nature.
- Every piece is an important part to the whole. Carefully record unique and specific shapes.
- Take your time. Don't rush. Mix a new color for every brush stroke.
- Don’t be as concerned about having a single focal point as you are about how the eye travels through the painting.
- Start with the area that you think you do the most correct and work off of that.
- Painting is a series of decisions so it’s important not to freeze—Make a decision!
- Focusing on value before color helps you color mix.
- When painting light and shadow approach classify your shapes into light OR shadow shapes. It's one or the other.
- Note light and dark (a value range) is NOT the same—for example you might have a relatively light shadow.
- As the object turns from the light and shadow the color intensity is at its greatest.
- Be very mindful recording the shape where the light and shadow meet.
- There’s no negative space—everything counts.
- Where can you merge your edges? Search and destroy...
- Start with your blueprint and don’t get lost in the detail.
- There’s no “mud” just bad shapes.
- Light is an organism that moves as one.