Unlocking Old Secrets III is the smallest in a series of three paintings which I will use similar objects to create a unified look among them. It’s also the first grouping of paintings to be released with a “fictionette”. Enjoy a bit of fiction that fills in some background for the objects {here}.

One thing I love to do is show the step by step progression of a painting. One day, I plan on filming some time lapse videos, while I paint, but until that day, this is what I can do for you. Enjoy a little slideshow and some explanations in the comments. Look for this painting to be available at West End Gallery’s Opening reception on May 1st.

Click on any image to enter the slideshow.

Setting up a still life takes longer than you would think it should. There are so many factors to consider once the choice of objects has been made. The endless variation of object placement, lighting, folds, highlights in just the right place. I have several guidelines to consider – one of which I may have violated with this painting – but I’m not entirely sure if the composition police should take me away just yet.

Since I’m trying out some boards instead of using rolled linen, the size is already fixed which means that I have to plan for some cropping, and I need to get it right before I get into the painting. Many decisions have to be made about what will happen at the edge of the painting before I begin. This is a makeshift “viewfinder” made from some stretcher bars. A real one is in the mail. This helps me to sketch out the objects to be sure I have drawn everything the right size and that it lines up with the outside edges of the board the way I want.

A preliminary block in of light verses dark shapes.

It’s important that I establish my lightest lights and darkest darks early on so that I can be sure my range of values is correct. And, as mentioned before, I may have violated on of the guidelines of composition – not having anything drawing your eye out of the painting – that key may be doing that, but I can’t be sure until it gets framed. It may end up being a nice crop which brings your eye right back into the painting.

Oh, that key – what trouble I had getting the top ellipse just right. Once, done with that, after a sigh of relief, I continued working on the yummy fabric.

Some more detail work on the pear. And I finally got rid of that pesky shadow, you’re welcome.

Now the most intimidating part – that clear glass. I have to forget that I’m painting glass. I can’t get all in a fluster – I just have to focus on light and dark shapes, the temperature of my shadows, edges, shapes, shapes, shapes. It’s pretty simple if you can keep the left side of your brain from taking over. It’s like fighting an epic battle in your head.

Finally got the top lip of that tiny vase – onto more folds.

And I’m finishing up with the background. I’ll be transparent here, the backgrounds of my paintings are probably my greatest struggle right now. How much to show, do I drift off into showing the texture of the board at this point? Do I go super detailed? Do I hint and leave it more subtle? More study and experimentation is needed before I come to something I’m completely happy with.