ART

One, Two, Three

a

Occasionally, someone will ask about my painting process. I have in the past, posted my usual digital painting and oil painting process.  But once in a while, I’ll choose this method.  It’s not an overall block-in, refine and refine again way to work.  It is instead, a little by little fill in method. While this technique can be fun, I don’t recommend it to anyone who is just starting to paint. Nor is it a way to work with a live model as your subject.  But, if working from one of your photos, it’s a nice change of pace.

Most painters who use this technique virtually finish an area before they move on.  I continue to go back and rework, just not as much as I do with an overall blocked- in underpainted method.  Many artists who employ this technique use far less color and create much tighter paintings. My finish (below) is about as tight as I like to get, regardless of the method.  But next time I work this technique, I’m going to limit the color significantly.  The color here is a little too exuberant.  Color, edges, highlights- all fighting for attention.  So next time, less of everything:)   I’ll let you know how it goes.

bbet copy

Portrait of S

bsamh copy

Oil on Linen 24″x 24″

One of those paintings that I keep fussing with.  I’ll probably give it a week of rest and then fine tune it a little bit more.

Curls

bgracecurls copy

Oil on Linen 14″x 18″

Alla Prima, with a concentration on my subject’s gloriously chaotic curls.

Restless

 

brestless copy

16″x 20″ Oil on canvas

A more limited palette.  I often lean on color to help me create form and interest. With this painting, I’ve limited color and used it sparingly, paying closer attention to line and shadow.

This painting was my third effort-same subject, and the only one to survive;)

Illuminated

bpurple copyOil on Linen 8″x 15″

An exercise I could have taken farther, but decided to leave as is.

 

Secrets On The Breeze

lostinthoughtOil on Linen 24″x 24″

This painting has been “finished” for a couple of weeks now.  However, I’ve tweaked it almost every day for the past two weeks, each time thinking “ok, now it’s finished”.  It’s finished:)

Study of D:Looking up

danastudyDanastudycomplete

I’m mad about linen.  Stretched, rolled, less expensive or deluxe, it IS my favorite painting surface.

It felt decadent to use linen for a study, but I got over the splurge;)

LX

bmeflick copy

 

Self Portrait          Oil on Linen 24″x 24″

It’s a big birthday, and I am grateful.

It May Be Spring

swampspring

It may be spring, but in my neck of the woods, Mother Nature takes one springy step forward and then two frosty steps back.   A crocus or two have emerged, but nothing much that’s green has appeared yet.  In the swamp however, the migratory birds are back, and all of our bird population is busy with checking out mates and real estate.

All of the photos I’m bombarding you with, were captured yesterday or just a few days prior.

My Self

 

bmyself

Oil on Linen 24″x 24″

Absorbed

Working

Alla Prima 8″x 10″

I’ve been absorbed-finishing up some new work and painting over some old work.  I hope to post new paintings and also hope to be visiting your blogs very soon.

Happy Spring!

This painting is the third effort to inhabit this canvas.

Melange

bmeno copy

 

Oil on Linen 24×24″

A product of my recent exercises in backlight and line.  First in a series.

Oh, and I’m pleased to share that my work and links are now included in the directory/gallery of the curated site, Figurative Artist.

Button Up

bcold! copy

 

Oil on Linen 18″x 24″

It’s pretty cold out there! I’m constantly pulling my coat a little closer.

Ponytailed

 

bponytail

Oil on Canvas 16″ x 20″ Alla Prima

More backlight practice.

Values in Backlight

bgracebacklit copy11″x14″ Oil on Canvas

gracedrawing

 

I’ve often found myself frustrated while trying to realize form within a backlit subject.  The bright back round light tends to flatten the planes of a figure or face, making it difficult to read the values necessary to create the form of the features.  In a situation like this, the values are darker and often not as varied as one might hope. I painted this portrait with the intention of improving my skills in working with backlight.

As you can see, I started with a recycled canvas (covering an unsuccessful  painting), and a charcoal drawing.  The painting is essentially alla prima (if we can excuse the start in charcoal).

The Red Dress

breddress copy

Oil on Linen 24″ x  24″

Lots of reflected light, on a sumptuous linen surface=so much fun to paint!  Below you’ll find progress images.

hairholdsteps

When not working alla prima, I generally begin with a value based underpainting- blocking in the entire painting to create a first layer.  As you can see, with this one, I started with charcoal and worked the painting bit by bit.

Immersed

breading copy

Oil on Canvas 11″X14″

Drawing on my experiments with line, a speedy alla prima oil.

Icy

bsnowing copy

Oil and Acrylic on Canvas 18″x 24″

It’s icing/snowing-again.

OMG

bsurprise copy

Oil on Canvas 12″x12″   Alla Prima

In this piece, I’ve mixed mindful linear accents with an even focus of hues and values.

I’m working furiously at the moment, so please forgive my lack of attention (for the time being), to all of your terrific blogs.  I’ll move back into blogger mode soon and enjoy catching up with you.  I so appreciate you insightful comments and kind support. Thank you!

Linear Arrangements

bonthephone copy

11″x14″ Charcoal, Oil on Canvas

I rarely focus on line when I paint.  Instead, I most often concentrate on seeing and representing values in their various shapes and hues.  But, I’m forever looking for ways to change up my point of view.  This painting is a result of one of those change-ups.

Elusive

btochin copy

Acrylic and oil on canvas 18″x24″

For this piece, I followed the same procedure as  “Active Resolve” .   I’m finding it a satisfying process, at least for the moment;)

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