This red rose is from Carol Marine’s works on the Daily PaintWorks website. I wanted more practice with roses. I drew this one out first on a 6×6 birch panel.
I started with alizarin crimson, and then mixed it with either yellow, white, or dark blue to get the different red shades. The olive green leaves and stem were created with yellow and black. There’s one section of teal blue that really should be the purplish shadow color, there right in the center of the painting.
I own Carol Marine’s book Daily Painting: Paint Small and Often To Become a More Creative, Productive, and Successful Artist and admire her style. (She has paintings for sale on the Daily PaintWorks website. ) Anyway, now I can’t remember where I found the original image for this copy: either her book or the website.
My main focus in trying to copy here was my brushwork. I wanted my brush strokes to follow the form of the apple, or the length of the cloth, or the direction of the shadow, etc. I painted this on a 6×6 birch panel which I gessoed before drawing the image. I used burnt sienna, Mars black, cad-free yellow medium, and Titanium White. The 2 brushes I used were fairly small; hence too many brush strokes!
This painting came about because I had signed up for something on Ali Kay Studio’s website. I got a free paint-these-zinnias packet as a result, which included a reference photo, drawing template, supply list, and a photo of how Ali Kay did her own painting based off the reference.
I traced the template on to canvas, covered the pencil marks and did the value mapping in Payne’s gray (too dark, I think), and followed her process for underpainting (based on some of her YouTube videos). From what I can determine, she paints the complementary color — so the yellow flowers have a purple underpainting, and so on. On the whole, I think I went to dark on the Payne’s gray — not sure what color she uses — and in the past I’ve ignored pencil or charcoal marks (so I’ll continue to stick with that in the future).
I like Ali Kay’s style for portraits of kids and animals — not sure I’m sold for florals, so I went my own way and did my own thing. For better or worse. I am most satisfied with the flower pot, and using my brushstrokes to convey the cylindrical shape.
Glyn Macey is a British artist who paints in acrylics. I have his book Glyn Macey’s World of Acrylics: How to Paint Sea, Sky, Land and Life, and I’ve bought two of his online workshops (which focus on the NYC cityscape) which I haven’t started.
In his book there’s a photo of his painting of an L.A. sunset, which I liked and decided to try to do myself. 12×12 canvas panel.
This painting was done on a 6×6 birch panel, prepared with gesso. It’s my version of Ali Kay‘s poinsettia painting. She’s an artist I recently discovered on Instagram who paints with acrylics, and I like her bold style.
This is my attempt at a paint-along called “Path to Lido” on the PaintCoach Patreon site. I was drawn to it about a year ago, and have wanted to paint it for some time, but as I painted, I got increasingly bored. My heart was not in it. So, one and done. This was on a 6×6 canvas panel.
This little 4×5 piece is based on a cropped version of a painting of zinnias by Jessica Green. I like the way she paints and was trying to imitate it.
I found out about this artist in the library of interviews available for members of Acrylic University, although she paints in oil.
I finished the “Guacamole” paint-along from PaintCoach’s Patreon page. The background in this photo is bluer than in reality.
Today I painted a pair of tomatoes based on a 2021 post at PaintCoach‘s Patreon page. This was done on a 6×8 canvas panel.
BetterLateThanNeverArt 