Alla prima 16″x 20″ Oil on Linen
While struggling with the next set of “Cloaked” paintings, I felt the need to work with a big brush, my favorite male model and some color!
11″x 14″ Oil on Linen
“Cloaked” is essentially the next- generation in the “Divide Series”. Much like the original “Divide Series”, there is a barrier-a separation between the individual and the world. In this new series, the divide takes the form of a headpiece. Its connotations may or may not be religious, from a time long past, or a time yet to come.
9″x 12″ Oil on Canvas
The surface of each painting is both textured and glossy, much like the feel of old Flemish portraits. Sorry I’m unable to show you here, but I’m sure you get the idea.
12″x 16″ Oil on Linen
I’m pretty excited about them:)
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.
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.
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.
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).
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.
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.
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!