Sunday, April 29, 2012
Friday, April 27, 2012
|20 minute pose|
|35 minute pose|
|way too long a pose|
(drawing and initial wash took about 15-20 minutes)
|t +60 minutes|
|close-up: t +60 minutes|
Sunday, April 22, 2012
lastly i finished the top of his head and hair in the same manner as the rest . i painted in some wisps of hair in front of his face to define the edge a little more and put in some crevice darks around the nose, nostrils, mouth, and eyes.
that's about it for this small sketch. i am really pretty happy, and not a little surprised, that it turned out as well as it did. now i wish i had thought out the colors a little better in the beginning. i really was just going for the correct values. at least this gives me the confidence to paint another a little bigger and better in the near future.
|"sollie, by golly" 13"X10"|
Friday, April 20, 2012
|flesh tone enhanced|
|black and white (duh)|
i started with a drawing on a piece of 140# hot press lanaquarelle paper measuring 11"X14". i thought that to get the whole thing to hang together i would have to lay down an initial wash over the face and the background so i chose quinacridone gold for the yellow, permanent rose for the red, and cerulean blue for the blue. the later may have been a mistake as it is rather opaque and may not glaze without causing some "mud".
|initial "unifying" wash|
from this point on i pretty much proceeded as i would on any other portrait using the same colors in different proportions. i painted the far eye and its surrounds first and then painted the large shadow that demarcated the light form the dark side of the face. i made this warmer near the light and with a relatively sharp edge and faded it into a cooler color as his head turned away from the light. i painted the mouth next being careful to get the light and shadow and therefore the shape correct. his mouth is definitely a little kid mouth and it would be very easy to make it "older" and thus make him seem older than his 4 years.
Thursday, April 19, 2012
|"a prayer for my people" 16"X20"|
|penultimate stages of "a prayer for my people"|
the only way to really know if this is going to work is to just "bite the bullet" and do it knowing that disaster could quite easily ensue. i took the same large #12 round kolinski brush and put in a dark wash above her head/hair on the top right side of the painting using burnt umber and brown madder being careful to respect the border with her hair and maintain some "lost" feeling to that edge. i also scraped in some hair strands with the palette knife as the wash dried enough to start losing its sheen. i carried that thought over the rest of the top of paper adding some quinacridone gold and ultramarine blue in places. i wanted the feathers to be very loose and used splotches of pure color (cerulean blue, brown madder, burnt umber) in more or less feather shapes and lost more edges than i found in the area. now looking at the result i certainly don't think that it was disaster. whether it is better or just different than i had originally planned, i am unsure. all that is left is to adjust a few edges, interlock some shapes that are a little boring, like the almost rectangular white shape next to her far cheek, and finish what i am going to do on her t-shirt.
Tuesday, April 17, 2012
|next washes on "a prayer for my people"|
|moving on:"a prayer for my people"|
this next mini-step focused on the temple area and beginning of her t-shirt which defines the lower edge of her chin/jaw. the former was accomplished using a #10 round and applying a swatch of cerulean blue just lateral to the eye and working both up, down, and into the hairline with the flesh hues. the latter was a combination of turquoise blue and cerulean blue mixed on the paper.
|final steps today|
in looking at the progress to date. i noticed that the lower portion of her face from nose on down was too prominent. true there was some foreshortening as her head is tilted back, but still...... so i scrubbed out the t-shirt and wash in the mid line above the lips and moved everything north about a 1/2". i didn't really draw this in before hand with a pencil but ad libed it with the brush and paint. i am much happier with this configuration. after fixing this anatomical snafu, i turned to the forehead. the far area was painted first using the #10 round and some of the flesh colors adding more cerulean to cool down the area as i moved into the center and hairline. i didn't want much of a separation here so i painted the hair in with cerulean blue and burnt sienna. as i moved to her *left* i added more blue to the hair wash and warmed up the forehead wash by adding more red/yellow to the mix. i scratched in the hair with a palette knife. that's about all the time i have today so i am off to do errands and pick up my spouse from work. more tomorrow.
Sunday, April 15, 2012
|drawing for "a prayer for her people"|
|close-up of first washes|
Thursday, April 12, 2012
|drawing for "annabel....."|
using a 16"X20" sheet of 140#, cold press fabriano artistico paper i drew in the likeness of annabel using a modified contour technique. this will be difficult for me as i am very fond of her and i am already nervous that the likeness not be as it should. i won't let this dissuade me however and continued on to her upper body which included her very expressive hands. if i can carry this off it will be a nice painting.
|first washes on "annabel...."|
|"the great airborne lunch attack" 20"X16"|
now that i look at this i think i lost too much of his hoodie over his *left* back so i will probably reinstate this with some dark value paint. with the exception of that i will declare this finished.
Tuesday, April 10, 2012
much later than expected: the first thing that i painted today was the pigeon. the light gray was made using cerulean blue, carmine and yellow ochre; the darker gray a combination of ultramarine blue and burst sienna. using a #8 round brush i started at the end of the near wing and painted the individual feathers which are quite distinct on the reference photo. as i moved back from the tips toward the body there was a natural lightening of the value as i ran out of paint. near the end i washed the brush and drew the remaining pigment out with clear water giving a nice feathering (no pun intended) of the stroke. this same notion was reduplicated on the nearer patch of feathers closer to the shoulder of the bird leaving a white patch over the near shoulder. same deal with the tail. the body was pretty simply painted with the light gray mixture and some of the darker paint was applied to the inferior part of the beak leaving a light highlight on the top. i couldn't come up with any better way to depict the moving wing so i just left it a blur with lost edges everywhere except at the point nearest the body. i thought that i needed some more of the yellow coloring in the painting so that the hat wouldn't seem so lonely so i put some of the yellow ochre on the park bench at the far right just to see if i thought that would work. i think that it will. additionally i wasn't wild about the entirely bare area under the bench so i drew in the rather complicated leg structure. now i just have to decide how to paint this so that it isn't "too much." i believe that is all for this section so on to the next stage and post.
Monday, April 9, 2012
with the previous step dry, i approached the large hoodie shape. using a #10 round (which is used for the remainder of this step) i applied ultramarine blue, burnt sienna, ivory black, and mineral violet in the darkest areas of the hoodie, almost as swatches of color, and allowed them to mingle wet-in-wet on the paper. just as they were starting to dry i softened the hard edges with a cleaned, damp brush to bring them closer together and give a wrinkled effect. i released the *left* back behind his arm into the crack between the boards on the bench using mainly clear water and drew it all the way to the edge of the paper. the jeans were approached in the same manner in terms of brush work but with the colors changing to ultramarine blue and mineral violet. i want to give the far wing of the pigeon a feeling of motion so i am leaving the edges very blurred in the area. i still am not entirely sure how am going to effect this subtlety but at least i haven't made any hard edges to make the work more difficult in the future when i do decide. i thought that the far right side of the bench needed some definition so i added a medium sized and valued shape in the background just above it near the edge of the painting and left it loose. this was a reiteration of the ultramarine blue and brown madder evidenced at the top of the painting above his hat. some spattering is also in evidence here both with paint and clear water. i left the drips and runs develop to give it texture and interest. that's all for now. more on the morrow.
Friday, April 6, 2012
|drawing and initial washes|
|close-up of face and surrounding area|
the paper is a sheet of 20"X16" fabriano artistico hot press 140# watercolor paper. i must say that the smooth texture on this paper makes drawing easier, at least it seems so to me, as the tooth on the rougher papers drags a bit on the pencil. i started the painting using a #8 round and some ultramarine blue and brown madder in the background and treated that and the shadow along the left (his *right*) of his hat and under the bill on his face down to his chin/beard as one shape. this highlighted his nose, *left* ear, and the *left* side of his beard. the color for the hat was yellow ochre and the colors for the flesh in shadow were the same plus cerulean blue and cadmium red light. as i had a puddle flesh color sitting on the palette i put a tint on his hands and blended that into the jeans on his knee. the reference photo actually shows this as almost white but i didn't want to take anything away from his startled face and the pigeon so i painted a bit of local color with cerulean blue right out of the tube after some dilution. i painted a light pink on his nails that will be surrounded by the regular flesh color after it dries. i started experimenting with the colors for his hoodie and put in some ultramarine blue and burnt sienna on the arm and cuff near his hands. it looks like a decent start and i look forward to painting more on this tomorrow.
now that i evaluate them back in the studio, i am struck by the composition of the pieces. i didn't consciously try to arrange things but only attempted to get a decent representation of the figure. however, the composition on these is much better than anything that i have done before in this setting.
|"chiricahua scout" 16"X20"|
Wednesday, April 4, 2012
|a horse with no face....hmmm|
|headless no more|