Verity

(Ice Age: Dawn of the Dinosaurs)

                                                                   (Dora the Explorer)

                                                                        (A Bug's Life)

Well, I'm starting an ambitious little project this week.  Little because it's only 12x12, ambitious because I'm painting a wiggly four year old from life.  We've worked on it for two days now, which translates to one movie and four Dora the Explorer episodes.  I'll keep posting pictures as it progresses. Wish us luck!

Sketches

I'm doing more quick sketches lately inspired by my seven year old who draws incessantly, so I thought I should post more as well.  The top is the stump of a tree that I took out of my backyard last week.  I'd been waiting for two years to see if it was worth saving, but year after year, fewer leaves came out and more branches were dead all the way through.  It was a Harry Lauder Walking Stick, which is an awesome small tree because of it's curly branches so I was disappointed that it didn't root well.  But after I took it out, it looked interesting sitting on my grass in the fading light, and so I decided to draw it. So the upside is that I got a neat sketch and I put in a small pond where the tree was. Under it is a sketch of my daughter, taking a much needed and unfortunately exceedingly rare nap.

Gathering Flowers

24x36 Maybe this one should be titled "check out how much I've improved".  I repainted a painting I did in the fall of 2010.  I was never really happy with it so I decided to fix it, and so much was wrong that fixing it turned into completely repainting it.  It's a portrait of my cousin picking flowers on my Grandmother's farm.  The bottom photo is what I painted earlier, the likeness wasn't very good, the proportions were off, the background was boring and I didn't finish it very well.  Now I have a much better likeness, the pose is still a little stiff, but I couldn't do much about that, so I changed the background to give it some rhythm.  I also fixed the proportions, made her taller and gave her a smaller head, I also changed the position of the hands.  Basically the only thing I kept was the bush in the bottom left.

Drawing Becky

Becky: charcoal pencil and white chalk, 9x12ish about 2 hours a piece. I'm trying to close the field and get a smooth finish without having the toned paper show through like I'm used to.

Still Life with Vermeer

My most recent still life, so recent it might not even be done yet.  I'm having trouble getting a decent picture, because of all of the dark values, I'm getting a lot of glare.  The top picture is in better focus and has less glare, but because I put a spotlight right on it, the top figure looks brighter than the cloth, so the bottom picture is more accurate that way.  I'm going to fool around some more and see if I can get a better picture. But anyway, it is 14x18 oil on panel as usual.  The picture in the background is Vermeer's Christ in the house of Martha and Mary.

Ingres Master Copy

Here is my most recent master copy, a detail from an Ingres. I picked Ingres to copy because of the high finish he develops in his portraits and figures which will help me with subtle transitions and luminous finishes. I am going to paint portraits of my children this spring/summer and wanted to study the soft smooth transitions that characterize the skin of children and young women. Working on a master copy helps me understand how great artists have handled the same problems. The study becomes its own unique environment, it allows me to focus solely on the areas I'm having trouble with, without the mental distractions of trying to make an original painting, which allows the time to be all about learning.

The Anatomy of a Painting

Recently I was selected to be a part of an exhibition that combines my love of history and passion for painting. "Warrenville Inspired" is hosted by the Warrenville Historical Society and brings together 20 diverse artists to create pieces based on the history of Warrenville and/or the artifacts in the museum. For this exhibit, I have about 6 weeks to create a painting from concept to completion, which is not much time for me. Since I have to work so quickly, it is important that I follow my process very closely, which makes it the perfect time to record that process. So here is the step by step process of how I make a painting.

Step one: The Concept
For this exhibit, the artists were all invited to the Warrenville city museum to chose artifacts from which to take their inspiration. My inspiration came from the museum's exhibits of family life: a parlor set from the Warren family, the city's founding family, as well as the myriad of personal items on display, including a lovely white dress, and a beautiful drawing of an enigmatic young woman with black hair. My concept is a moment in between. The passage of time and the growth of people, the small moments, the in between moments that are forgotten the next day, but that create our lives and so create history.

Step two: Initial Drawing
As I begin to clarify my concept, the questions I ask myself begin to shape the direction of the painting. What story do I want to tell? What mood or feeling do I want to convey? The answers will help me decide on the subject of the painting as well as things like value and tonal range that will create the emotion. Then I begin to reach into particulars of subject, pose, and lighting and doing so I make a number of thumbnail sketches. Usually 6-10 before I hit on one that suits what I want to convey. These are small sketches done in pencil in my sketchbook, that help me decide on the composition.

Step Two: The Poster Study
Once I have decided on the composition, I hire a model and costume and pose them to fit the composition. I make more drawings and color studies (mini paintings focused on the patterning of light and patches of color). I also take a lot of photographs if I won't be able to work with the model later. Then I begin to work out the next steps, still focused on my concept. What will the light look like? What color and tones convey the feeling I want? I make a small (8x10), full color painting of the composition.

Step Three: The Full Size Drawing
Here I make a finished drawing in charcoal on paper of exactly what I want the painting to look like, to the exact size. In this case, the drawing is 22x28. Here I try to solve all of the problems I can with regards to proportion, line, and overall composition.

Step Four: The transfer
Once the drawing is done I transfer it to the panel. I always paint on high grade oil primed linen that is fixed to a wood board. It is expensive but worth it. I lay a piece of tissue paper over the drawing, tracing the large shapes. I don't trace the small detail because they won't read through the paper. Then I flip the tissue paper over and trace it with soft charcoal. Then I flip it back to the right side, lay it over the board and trace it again with a ball point pen, pressing hard enough to transfer the charcoal lines, but not hard enough to mar the canvas. At this point I use a small brush and a bottle of India ink inking it in and adding all of the small details in.

Step Five: The Underpainting
Next I wash over the entire board in raw umber thinned with turpentine, which helps give the painting a cohesive tonal effect, and makes it easier to judge value.

Then I wipe out the lights with a paper towel.

Next I darken the darks with more raw umber. This results in a complete value drawing, which acts as the underpainting. This step is important so that as I start the painting, I have all the values worked out so I can simply focus on color. The real advantage to working with a process is that it simplifies what you're working on, so you can focus on one thing at a time. First the drawing, where the only concern is shape and proportion and line, then in the underpainting you focus on value and finally when it's time to lay in the color, you can be sure that the drawing and the values are accurate so the focus is entirely on color.

Step Six: The Block-in
Here is where the color comes in. In full bodied paint, not thinned with anything, I begin to lay down the color. I work with a limited palette of Ivory Black, a mixture of Flake White and Titanium White, Cadmium Yellow, Cadmium Red,Ultramarine Blue, and Raw Umber. I begin to paint, section by section until the entire canvas is covered.

The last and final step is the finish. Here I gradually build up detail, mixing a medium of linseed oil and turpentine into my paint until I am satisfied with my finish, and the painting is done.