Oil Painting of Reclining Nude

"Awakened"

18" x 12", Oil on Paper

I've been painting small nudes lately. I think there's an intimacy about them that you can't get with larger paintings. Also the the size allows me to do more of them and experiment with abstracted backgrounds. Abstraction is something I'm deeply interested in. Don't get me wrong - I'm very much entrenched in representational work and have no intention of changing that. But any artist who has trained, knows that a good abstract design lies at the heart of every successful painting. For a long time I've been scribbling in sketch books ideas that I have for combining these two genre's. Yes, I know there are other artists out there who have done this quite successfully. There probably isn't anything new under the sun and I'm not out to reinvent the wheel. But I have to go where my muse leads or my work will get stale. 

I think the exploration of  new horizons is a call that many artists hear but don't follow out of fear of losing sales. What I've found is that when I paint something I love, others love it too. So. Onward into the new frontier. Er, somewhat. I think you'll still see a lot of my traditional stuff here as I continue to forge new paths. As it goes with many experiments, sometimes the lab blows up.

A Measure of Success

"Just a Little Tin"

Oil on Board, 5" x 7"

Well, this was fun.  This started out to be a small exercise in value and temperature - my favorite subject for exploration, and ended up taking more than a few hours to get right. Still, it was a lot of fun and the results were worth it. What's really surprising to a lot of my students, though, is that it took me as long as it did. They've seen me whip out larger pieces in half the time. But these days I'm taking a bit more time with my work in tweaking things.

I think the lesson here is that we are our own worst or hardest critic. I'd like to think that I'm learning to be a hard critic of my own work. Sure I can find a lot wrong with my work, but more importantly, I'm better able to answer the question; "did I achieved what I was after?" Starting a painting without a concept in mind is a lot like taking a road trip without a map. Sure, you may get to a lot of interesting places, but you won't necessarily get anywhere you started out wanting to go. So these days, before sitting down to paint even a small thing like this little ditty, I try to have a clear goal in mind. That way, I can answer the question, "was the trip worth the goal?" If I've actually learned what I was after to find out, then even if the painting is a dud, I've been a success. 

Oil Painting of Tin and Pewter

"On the Edge", Oil on Board, 9" x 12"

Not having a clue what I wanted to paint the other day, but knowing I needed to paint, I grabbed these items off the shelf and plopped them down on my still life shadow box. Sometimes when I'm in that place between inspiration and the need to just push some paint around, I'll try to make the most of my time by giving myself just an exercise to do. Something with a goal in mind that will focus my attention and give me a lesson at the same time. 

I knew I wanted to do something that wasn't high contrast but that was in cool light and would challenge me with subtle temperature shifts. The background of my wood shadow box is painted a kind of Naples Yellow Light and generally I drape fabric or colored paper over it. But this time I decided to try something with just the creamy yellow background. Yellow can be a challenge when it becomes shadow because it can go in a couple of different directions -  from orangy to brown and often green. Finding the right relationships can be a challenge so I was pleased when this worked out. Pulling the yellow into the pewter and tin pieces brought the painting together. This is easy when there are reflective objects present as they'll do this anyway. I liked the negative space formed by the balanced tin cup and the lost edges too.  How do you like the brushed surface of the pitcher?

Still Life, Red Cherry Pitcher

"The Cherry Pitcher"Oil on Linen




 

I purchased this pitcher mainly because I liked it's color and wanted to challenge myself to paint it. Red is a particularly difficult color to do well. Too much background color in it and it looks dull or muddy, too much Naples Yellow or White on the lit side leads to pasty looking pink. Although it's not so much the exact color/temperature that gets you there, it's the color/temperature relationship. Either color used in isolation will look off. It's when they're juxtaposed to each other that they come alive and it all sings. I was happy overall with the way this painting turned out, I felt my edges were working for me and the shadows on the lace were just right. What do you think?

 





Male Nude Study

A Study of  Carlton

I run a life drawing group on Mondays at my studio. I have about seven loyal friends and students who enjoy this time with me.

Carlton is one of my favorite models and I particularly enjoyed this pose because of the warm and cool contrasts.

For the past few months, I worked strictly in graphite to get back in practice but since we have switched to longer poses I'm back into paint. I'm a bit out of practice with painting directly from the model as I haven't done it since last June when I was in atelier, but I hope to whip these out a bit faster and more accurately as I get back in the swing of things. 

Still Life of Chocolate Pot

"The Chocolate Pot"
Oil on Linen on Board

I recently assisted a student in setting up a still life for a graphite drawing she will be working on. I liked the set up and decided it would be a good exercise for me to work on. 

I've just finished a five month project for a client and was eager to get back into painting smaller projects of my choice. This was a good one to get started on. It's monochromatic appearance and subtle half tones appealed to me. I'm still playing with how to crop it. 

Practice and all that Jazz

Here's a little portrait I did for practice the other day. Her name is Bridgette. She's a friend and former student and has perfect bone structure. I enjoy doing these little portraits because I can get them done quickly. I took a break from a very large project I've been working on for five months. Haven't gotten much else done but I'm almost finished and it will be good to get back to smaller projects that are more speedily completed.

"Bridgette"

Vanitas

Having been so busy getting ready for my next big project, I didn't have enough time to get anything substantial out. I wanted to keep my hand in the paint, so to speak though. So I put together this little red painting. I wanted to see how warm I could get and still have the cool vase not pop too much. Also a friend had a really cool skull and I wanted to paint it. It all seemed to go together so I had a little fun for a couple of days. I like the symbolism in a Vanitas - life and death - the eternal circle. The white flowers also represent beauty, the skull - the transience of life and the candle snuffer - well, that seems pretty obvious. The colors on my screen are a bit saturated and that doesn't surprise me as reds don't always translate well on the screen. The vase appears a bit blue here too and is, in fact, a little turquoise. I seem to have hit the limits of my Photoshop abilities in working with this one to get the color to read right. 

Some health issues have kept me from the studio on a regular basis. I hope to be in the "pink" soon and my next project is "Sleeping Beauty".  I plan on documenting the entire process of the painting here on this site as well as my teaching blog. Should be fun so stay tuned. 

"Red Riding Hood"
Oil on Paper and Board

Yes, you've seen a smaller version of this one already. But this is the actual painting while the other was the color study. I love allegorical paintings. This is the first of a series I plan on doing. The next one is already in the works and I'm as excited as a kid with a new toy. It's so cool to get my creative freedom back after three years of study. It's not that I felt restricted while at Georgetown Atelier. My teacher, Tenaya Sims gave us an enormous amount of freedom. But there is something about the intensive environment and academic climate in an Atelier that seemed to hold me back. Perhaps it was my self conscious fear of failure or making mistakes. Everything felt stiff and stilted. It feels now though as if I am finally doing the work I'd always wanted to do. I still feel daunted by some tasks and many aspects of painting classically, but overall, I'm more confident and my drawing and rendering skills have improved measurably even since graduation. I want to jump up and click my heals!

A Day at Hurricane Ridge

We've had some of the best weather this summer on the Peninsula than we've had in three years. I recently spent the day up on Hurricane Ridge with some friends painting. It's just a stone's throw from where I live.  The weather was perfect and aside from the birds that were roosting on my easel (and even my hand!), we had only a couple of deer for company. It brought to mind what Kevin Macpherson said: "Just think...this is your job. How cool is that?" 

Red Riding Hood - color study

Some time ago when I was still attending Georgetown Atelier, we had a little red headed model who posed for us. During her breaks she would don this gorgeous red robe that had a huge hood on it. It was an irresistible combination. I asked her if she would model for me after class for a photo session and she agreed. We met one evening and worked together for about two hours. The results were so good that I almost couldn't wait for the end of school so I could get started on a painting. 

While I prefer to work from life, the model lives in Seattle and I, unfortunately, live in Port Angeles - a difficult commute for either myself or the model. Now that school is over, I'm a bit reluctant to spend a lot of time commuting. I had previous done a small portrait from life of her in the class so I was confident that I had her coloring. For working from photos I use a large flat screen monitor in my studio that rotates to vertical. This provides more realistic coloring and I can adjust things as I need to.

There were many photos that came out beautiful and worthy of painting and some I will pursue at another time, but this particular pose (with some changes on my part) worked because of the edgy quality of her gaze. It seemed perfect for the story of Red Riding Hood. Umm...just who is the wolf here?

I spent about a week on the drawing which I did to size and then reduced it for the purpose of doing this color study. The study is only 8" x 11" on "Yes" canvas. The finished piece will be 19" x 27.5" but likely done on board. I'm still working out my preference. This came out so good, I'm going to frame it too. I'm having a great time! School was so intense, I almost forgot how much I love to paint. It's good to be back.

A Day in the Sun

"A Sultry Afternoon"

Summer has finally arrived on the Olympic Peninsula, late albeit. Well it hardly ever gets here before mid July anyway. But it was quite warm at 80 or so here last week so I took off with some friends to do some painting. We found a lovely spot out near Gardner right on the water that had a great view of two areas bordered by salt marshes on one side, forest on the other and Ocean off to the rear. We were able to bring our truck right up to the spot where we rolled out our easels and set up for a glorious evening of painting. My vitamin D got a super charge and I believe I may actually have even turned a little coppery despite a ton of sun block. We went for two days in a row as the weather was holding and we loved the spot so much.

My friend Monika brought along a friend of her's from out of town (Dave) on day two. Dave is still a puppy painter and was having a hard time on his first attempt at painting in the great outdoors. 

I took pity and being the pushy teacher that I am, I jumped in and asked if he would like some help. Dave was more than happy to get some guidance and so I pointed out a few things he could do to improve his approach. For one, he was using too many colors on his palette so I squeezed out just three colors plus black and white to get him started. Then I illustrated on the side of his board how he could block out the major shapes and just jigsaw the simple landscape together. Dave proved an apt pupil and jumped right in following directions carefully. The improvement in his work was startling but I couldn't convince him to let me take a photo of it. He promises though that by next year he'll be good competition for me.  My friend Monika did a great piece - I gave her a lesson also and above is my evening's work.

 Here's Monika at work. You can see the marsh off to the right with the ocean beyond on the left (well, sort of). Here's one of Dave getting a lesson from your's truly. 

Dave getting a lesson

Me - looks like I'm talking to someone there - or catching flies.
 Hmm. Think it's time for Weight Watchers again. This
was on Day 1 when I painted the above piece. 

Master Copy of Rembrandt's "Man in Armour"

Well school is finally over. Hooray, Yay! We had our graduation on June 30th. "Man in Armour" was the master copy I chose to do for one of my final projects. I'm quite happy with the way it came out but I plan to do quite a few more. I learned a lot from this painting and it taught me how much I can learn from doing copies. 

I'll post a couple of other pieces I did during the final months of Georgetown Atelier but then I'm on to my own projects and I'll be posting those here. I plan on doing some weekly (if not daily) paintings again that I'll be posting for sale as well. Stay tuned and thanks for sticking with me through the long drought.

In Balance

I was going to call this painting "Ode to David Gray" as it was his style and palette that inspired this piece. But I  changed my mind and it became "In Balance" instead. 

I enjoyed the challenge of rendering the muted colors and edges in this piece. The color temperature was very challenging but I think I did a pretty good job overall. Fun. 

Portrait, Oil on Board

"Thoughts of Spring"

Every artist has a favorite model and Amber is without a doubt, mine. She has beautiful bone structure and at the same time a certain softness about her that makes her a pleasure to draw and paint. I did this portrait from a photo that was taken some time back when Amber was pregnant with her son Joshua. It was a rainy, cold day and Amber was standing at the window on a short break. It was the perfect shot so I asked her to hold still while I adjusted the camera. I took hundreds of photos that day but this one was the best. I prefer to work from life, but often my budget or time do not make that possible. Photos can sometimes lead to a stiff or an unnatural looking portrait. This is because when you work from life, the model moves. So the work tends to be a composite of many poses which come together to lend the portrait a certain sense of life. Photos, on the other hand, don't move and this can cause the eye to focus on each portion of the photo separately making for a hard lined and fragmented painting.  I think, however, that I managed to retain Amber's special qualities as well as her quiet moment of hopefulness in this portrait.

Portrait, Oil on Linen

Portrait of Jenna

This small portrait was originally meant to be a two or three day study. The model was sitting for a three or four week pose and my intentions were to do a couple of different studies from different positions. For this reason, the lay in was done in paint rather than taking the time for a careful drawing. However the block in came out so well that my teacher suggested I follow through with it and make it a three week full portrait. I can see changes I'd like to make on it now, but over all it came out pretty well. I love working from life but the reality is that it's hard to do unless you have several people willing to help pay for the pose. Three to four weeks is a long time. I suppose as I improve, it will take less time.

Nude Figure Painting, Oil on Linen

"Morning Thoughts"

This piece was one of the last ones done at school before the summer break. A limited palette of only a few colors was used here. I was quite happy with this piece although I think I still have a long way to go.

Male Nude

This piece was done during the school year and was one of my first limited palette paintings. The model is "Hoagie", a gentleman who poses for most of the schools and ateliers in the Seattle area. While I still have a ways to go here, I felt that I was beginning to turn the corner with this piece.

Venus de Milo

One of the projects we had to do at school before starting on Limited Palette, was a cast study of warm and cool light. At first glance, this appears to be a black and white painting, but if you look closer, you will see warm orangy tones in it. Done with an extremely limited palette of burnt sienna, Ultramarine Blue, Naples Yellow and flake white (no black), my job was to paint as accurately as I could, the values and the relative temperature changes I saw in the cast. The project took about a month or two and marked the end of my mostly monochromatic months at the atelier.

Still Life Study of Chinese Tea Pot and Rose Hips, 12" x 11"

It's been a very busy and hectic year. While I've been a full time artist for years, sometimes working 60 hour weeks, I never dreamed that the top item on my bucket list could be more stressful than that. Attending an atelier is both an exhillerating and exhausting journey. I attend four days a week (day five I have to teach at my own studio so I have enough money to attend school the other four). Because I live so far from Seattle where Georgetown Atelier is located, I have to spend those three nights with a friend and a relative. Then I drive the three hours home late on Thursday after class.

I'm on a brief vacation now and I have quite a few pieces I'll be posting over the coming weeks to show off a bit. This small piece which is only about 11" x 12" is a small color study for a larger still life I'm still working on at school. We generally do these as they help to iron out problems which occur during the painting process before we actually get to them. Some areas didn't come out well in the photo. Another student took them at the atelier during the past two weeks and forwarded this to me so I can't account for the the faded area in the lower right hand corner. But otherwise, it's a good representation. The edges need a bit of work and you can tell it's not a finished painting in and of itself, but over all, I'm pretty happy with it. The large piece is proving to be quite a challenge. I'll post it when it's done and perhaps share some of it's development along the way.