You are currently browsing the category archive for the 'painting' category.
This was a tough and challenging still life (my second). As you can see it included lots of glass, complicated wood texture and coloring, and a reflective surface on which all objects were placed. The toughest aspect of this painting was the backdrop itself. For some reason I struggled to match the color and the texture. Ahh, more to learn. Today I painted, cleaned the house and road my bike on the Foothills Parkway. Live oneth.
Here is a finished portrait that seems to have the right aspect ration and proportions, but I’m in need of more refinement – especially with eyes. Ok then. The prior ‘work-in-progress’ was close – but herein is the final. Paint oneth.
The two images herein are an attempt to use acrylics – and I’m not having much luck. The medium requires a “backward” process of dark to light paint layering because it dries so quickly. I took a few liberties with the photograph when translating it to a painting – which was taken in Hawai’i near Pu’uhonua o Honaunau. Aloha.
A few weeks ago while painting my first still life, I began thinking of my second painting. Go figure – HA! In the process of figuring out what to paint, I accumulated several Goodwill artifacts and various fabric elements to help for future projects. None of those objects from Goodwill were selected for still life #2 … I’ll savor those glass items for later.
On Monday of this week I began mixing paint – rather than draw out the still life. Painting is a time hog (more so than riding my bike which I’m still doing). Prior to mixing paint, I spent three hours preparing the still life set – which included re-building the stage, adjusting the lights, and adjusting the studio.
In a later post I’ll show a photo of the palette for this painting. I’ve not counted the total number of colors but I suspect I’m well beyond 50. Mixing paint was time intensive – it took a total of 9 hours. Earlier this afternoon I drew the still life in water color pencil to prepare for laying the paint. In the attached gallery images you’ll see that the first attempt to organize the layout failed. I erased it and started over. Over the weekend I’ll complete the painting – and I anticipate a total of 12 additonal hours. The total – 25 hours – makes the painting worth $875. More “whew!”
The painting process would move quicker should I have the time to dedicate to the task. I’m limited to a few minutes here and there with only one or two days per week to get into it. Oh well, when I’m not painting I’m thinking about what I’m going to do next. Meanwhile, I’m riding, working out, taking care of bizness, figuring out my relationship with the girlfriend, or just figuring out what the world has to offer these days. I’ll complete this ’study’ over the weekend – look for it sooneth. Ride, paint, and live oneth.
The process of teaching myself to paint is interesting. I’m using a video lesson series to learn – and while it’s helpful – it’s just one lesson. My artistic skill is limited and I’m having trouble with some of the basics – like painting noses and facial contour. Maybe a few thousand of these will give me the experience needed for the “masterpiece” I envision painting someday. Dream on is my motto.
Today’s image is a true work in-progress; it’s a 9×12″ portrait. You’ll note the artboard is ‘brown’ (actually it’s burnt umber with white mixed). The brownish coloration actually the stain I apply to the board to prep it for painting. It’s much easier to apply paint on a neutral tone rather than a white board. Besides, if I miss a spot anywhere in the painting the brown flecks will not be near as obvious as white flecks created by a stark-naked board. This painting will be completed later this week. Later.
This little painting, 12×12, was roughed out several weeks ago when contemplating portrait work. The whole process seemed (and still does) daunting. Rather than attempt another “realist” look, I just laid down the color as I wanted. I picked up three brushes and keep laying down paint. At one point this face began taking on the appearance of a cat and I modified the eyes slightly to avoid that outcome. Noses in general are difficult for me at the moment. I’ll try working on improving the “nose” in my next painting – after which I’ll work on hands and feet. Naturally I’m having difficulty with the process because I’ve had no formal training. The last art class I can remember taking was many years ago in middle school! Eekk! More as I have it …
My first still life is behind me and rather than discard the palette I mixed (which required 8 hours of work), I elected to continue painting with its color mix. Granted, the palette is not ideal for portrait painting because are it doesn’t include true flesh tones (as if I know what a portrait palette would include -ha)! This first attempt at this painting had me working into the night ‘over thinking’ the palette of six or seven colors (all of the same tone, but different values). The result is a painting that’s “ok” but certainl it’s not a competitive entry. It certainly looks much better when viewed with my eyes rather than my camera. Ok then – I’ll keep trying.
The painting herein is another quick sketch with layers of left-over paint applied quickly and without worry. The depth or lack thereof is based on a VERY limited palette. I used 6 colors – four of which are of the same tone, but in different values. The other two (red and blue) were add-ins to make the picture a bit more realistic. Click to enlarge.
I’m looking forward to the my first “real” painting – which is a still life and I’ll work on that piece this Friday.
I located Guy Diehl through the Carder Method forum and have enjoyed looking at his work. Impressive and photo-realistic are the only words that comes to mind. His detailed paintings feel like photos, and I can only imagine the color palette he’s using. He’s probably creating 20+ steps for each of the element in the painting. I suspect that’s his method that allows for the realism you see. Unless he can mix the paint quickly, he’s spending vast amounts of time in preparation to paint. Ergo – his work is probably expensive. Enough said – enjoy.
For much of the day I sat behind my canvas and looked at the still life – under the color-correct lights – with some tunes going – accompanied by a huge dose of determination. Even with a lunch break (I ate while mixing), it took me just over 8 hours to assemble the palette. Whew. I cleaned the mixing glass palette four times and used most of my initial stock of oil paint. Along the way I made a few mistakes – like not balancing my whites at the beginning. Oh well, I’m just starting — and I want to keep it low-key and fun.
The second image is of a painting I painted this afternoon. I quickly drew a woman’s face on canvas paper then used left-over palette mixes between mixing batches. It took me about 10 minutes to paint.
Ok then. It’s time for the adult beverage.
The set up time for this project thus far totals a lot of hours. I’ve gridded off a section of my garage to form 12×15′ studio complete with carpet, color-correct 5000k lights and a surround sound system. I purchased my still life objects from Goodwill and borrowed the teapot from the LGE. What you see herein is my still life set up and the pencil rendering. The rendering took me about three hours to complete. Tomorrow I’ll begin mixing my paint and formulate a palette. I’m on my way. Paint oneth.
The “painting a day” group of painters is interesting in that they attempt to paint every day. One painter that I’m enjoying more than most is Qiang Huang. He approach a still life with bold movements and yet there is a ton of fluidity in the final image. Review his site and look at his work – it’s very consistent and enjoyable.
More attempts at watercolor. I think Van Gogh was much better than I’ll ever be at drawing, illustration or painting. But I’m trying.
Here is my first attempt at a watercolor portrait. It’s much harder than it appears – especially matching skin tone. I’ll keep working. Paint oneth.
Over the past four weeks, I’ve spent a lot of time surfing the net looking for painting reference – particularly palette knife work. In my search, I found several painters who “paint daily,” which gave me the encouragement I needed to look closer at each artist’s style and learn from observation. One in particular, I believe, is worthy of closer review. Karin Jurick is such a painter.
Jurick was recently (as in the Feburary 2009 edition) featured in American Artist Magazine. Several of her paintings depict people pondering great works of art in art museums. Her style is … well … very interesting. The bold use of color from a palette of near 50 colors makes her work appear to photographic. I like her work because it’s approachable, unique and vibrant.
Visit her website and view her work – you’ll be glad you did. Karin Jurick
Van Gogh produced more than 2,000 works in his lifetime – roughly 900 paintings and 1,100 drawings and sketches. I’ve been very fortunate to have seen much of his work while in Amsterdam (I’ve been there on four separate occasions). I first saw his work at the “State” museum and then at the Van Gogh Museum.
Interestingly, he was a prolific artist during the last ten years of his life, and most of his best-known works were produced in the final two years of his life. He was a bit crazy and eventually cut off part of his left ear following a breakdown in his friendship with Paul Gauguin. After this he suffered recurrent bouts of mental illness, which led to his suicide. What a life.
The German impressionists of the early 20th Century hailed him as the holy grail of modern painting. What ever. I’m not convinced that Van Gogh is “all that” but I do want to attempt his style and have begun my own “chair” painting. His work is inspiring and I certainly appreciate his style and bold use of color. I’ll publish my own “chair” once completed.
Later.
George Inness was an American landscape painter whose work is “killa.” Seriously, he was an American Mac-daddy painting through experimentation. In other words, he was self-taught.
His primary works are associated with the Romantic movement, which greatly influenced his style. Later in his painting life his style evolved to painting intimate subjects in a more uninhibited fashion.
I enjoy his painting work for a couple of reasons. First, because it reminds me of George Hendrik Breitner’s work who painted life in Holland and who is known as a Dutch impressionist. The second reason I enjoy his work — because it connects with the style and feel I hope to espouse on canvass. I realize this is a “hopeful dream,” as he is considered to be the greatest 19th century landscape painter. Enjoy.
Penny Otwell is a residing painter in Yosemite National Park and while she invests her time in primarily landscapes, she is also know for capturing wildlife in the Park and other life, images and scenary of Yosemite. By way of her profile, Penny says she also paints in the High Sierrea and the Mendocino Coast. Kewl. I found her blog by looking for artists who paint using a palette knife.
Penny has many examples of their work posted for her students to view (and for budding artists like me). The image today is from her blog site. I’m uncertain as to the real name, but the jpg says: Happy Birthday Penny 144 — the view is Tioga Pass. Visit her website – Penny Otwell - to enjoy more of her work.
Thanks Penny for sharing your work! Paint oneth.
“BORIS & YURI” contemporary