Monday, January 30, 2012
Sunday, January 29, 2012
More could be done on this painting like getting better greens and better form on the leaves but am calling this study done. It was good practice building form/shapes. Still lots to learn about warm/cool relationships and how they are affected by the lighting of the subject. This was painted under color corrected fluorescent but that lighting is no where as good as natural daylight for getting truer colors.
Thursday, January 26, 2012
Tuesday, January 24, 2012
I began working on an 11" x 14" Ampersand panel by sketching in the subject with charcoal, then blocked in the darks first. I was really enjoying laying a stroke down and stepping back then I became carried away at the end of the day and took a brush and softened everything, which became over blending. I'm trying to teach myself new habits such as laying a stroke down and leaving it, but am finding that old habits are quite difficult to break.
The color palette is Utrecht Ultramarine Blue, Cobalt Blue, Pthalo Blue, M. Graham Dioxazine Purple, WN Permanet Rose, M. Graham Cad. Red Light, Holbein Alizarin Crimson, M. Graham Transparent Red Oxide, WN Yellow Ochre, Rembrandt Cad. Yellow Light, Permelba White. I am using is M. Graham Alkyd Medium, which helps with drying, as I am trying to stay away from materials that could combust.
I may have to break down though and use a different medium as a couple of the oils are so stiff that it feels like I am fighting the paint. I think those tubes of stiff paint must be quite old. The brushes are cleaned at the end of the day using Goop then washed thoroughly until the water runs clean.
Sunday, January 22, 2012
Wednesday, January 18, 2012
Tuesday, January 17, 2012
I've been lax about thanking everyone for visiting this blog and want to correct that by saying "thank you" now. You all make a difference with your interest and the comments you leave. It's been a pleasure chatting just a bit via the comments and I always appreciate the feedback.
Monday, January 16, 2012
Sunday, January 15, 2012
6" x 6"
Acrylics on Ampersand Board
This painting was done from a reference photo I took a few years ago. The camera blackens the darks but there is color in the shadow and reflected light at the base of the pepper.
Palette for this painting is Quinacradone Red, Ultramarine Blue, Burnt Sienna, Pthalo Blue, Cobalt Turquoise, Hookers Green, Brilliant Yellow Green, Raw Sienna, Cad. Yellow Medium and gesso for white.
Saturday, January 14, 2012
Thursday, January 12, 2012
Using a #8 bristle filbert brush, the 11" x 14" Ampersand board was toned with Golden Burnt Sienna, Stephen Quiller Transparent Brown Oxide and Indian Yellow. I let that dry then began laying in the sky using Golden Open Acrylics Ultramarine Blue with regular Stephen Quiller Cobalt Turquoise Light and gesso for white. The rest was blocked in using the colors listed above along with W/N Hookers Green, Liquitex Brilliant Yellow Green, Golden Quinacradone Red.
Wednesday, January 11, 2012
Timer - 8 minutes Sharpie pen
Shoe - 8 min. Sharpie Pen
Tuesday, January 10, 2012
Monday, January 09, 2012
Sunday, January 08, 2012
11" x 14"
Gessoed Ampersand Board
The reference photo for this painting is posted below. You can see how unlike the reference photo the painting is.
Several of us at paintingfriends.com have begun a sketch a day, taking not more than 15-20 minutes for the sketch. I've decided to use an ink pen for the sketches with my long term goal to lay a line down as accurately as I can to form the basic shapes of the subject, instead of just scribbling, which is what I'm currently doing.
The first sketch is from yesterday and then a sketch of actor Al "Fuzzy" St. John done this morning. Fuzzy played Lash LaRue's sidekick in some old western movies. It doesn't look like Fuzzy but pausing a movie and sketching is a great way to practice.
Saturday, January 07, 2012
One of the acrylic artists whose work I admire is Charles Harrington. Having seen his work in real life, I can tell you the photos simply don't do them justice.
Another thing of note today was reading the Compose blog posted by Dianne Mize. She said, "Keeping a painting fresh and alive is not a matter of following a set of rules--including intentionally trying to loosen up--nor is it slinging paint willy-nilly. Rather, bringing life into a painting comes from an inner attitude of wondering what one will discover next and allowing the painting to move forward within that intention." Now isn't that an eye opener!
Friday, January 06, 2012
Thursday, January 05, 2012
The palette for this painting is Cobalt Blue, Burnt Sienna, Pthalo Blue, Cerulean Blue, Cobalt Turquoise, Viridian, Perm. Rose, Yellow Ochre, New Gamboge, I don't want to get so caught up in the technical that I forget to try to be more expressive with the brushes and the color. That is a hard thing for me to achieve since I am trying to be oh so very careful. The good part is I have the drawing on tracing paper so can simply begin again if I don't like what I see.
One of the portrait watercolor artist I most admire is Ona, who has the Emotive Expressions blog. She creates the most delicate of skin tones yet has marvelous values. Every time I began getting impatient, waiting for the paper to dry, I would think of her work and how much time and patience she must have. That would slow me down long enough to allow the paper to dry.
Even though, the shadow tones are not what I would like I will continue on with this painting, reshaping the lips just a little and lowering the left eye just a tad while continuing to build the shapes through more color and values. Wish me luck and a good eye!