about STILL LIFES
Oh, to be in a room full of possible paintings with flowers, teacups, or an autumn harvest!
At the beginning of a still life painting, an idea is born, but arranging the elements, lighting and perspective are all important. Color harmony, composition, value pattern, the foreground and background, can all be established before I ever touch a brush to my canvas. When the idea becomes my arrangement, my arrangement can become my painting.
I ask good questions before I start. What is the best way to start? How do I paint the background? Do I need thin darks to create distance? These questions (and more) are vital to give clarity to my thinking so I can concentrate on the creative part. I call these questions my Alla Prima List. You can find them in Richard Schmid's book: "Alla Prima II: Everything I Know About Painting-and More" in Chapter 3--Starting. For more information visit: www.RichardSchmid.com
Be it hours or days in this painting, we (these still life elements and myself) get to create together. Whatever is difficult or unexplored can bring opportunities of new breakthroughs. Problem solving can lead me to the thrill of discovery and risk taking. The more sensitivity I can bring to the process of painting, the more possible it is to convey the language of painting.