Overpainting.

Painted over my underpainting from the other night. One thing I can say for certain is the painting went a lot faster with the aid of an underpainting. However I feel it's almost overworked. I over-painted. (Rim shot.) There was a freshness in the underpainting that I think has disappeared in the final. Next time I'll slow down some and start with thinner glazes to preserve my preliminary work.

Oh well. What's done is done, and it's time to move on to the next one.

Oil on canvas board. About an hour.

Graci

I had read that Norman Rockwell often did under paintings in mars violet, so I picked me up a tube of the stuff and thought I'd try it out. Used the wipe out method for the highlights. I'm trying to introduce more randomness and texture to my work. So far I'm liking the feel.

Oil on canvas board. 2 hours.

Doodle Doodle Doodle...

I made you out of pixels. Ok, so my talents don't lie in parodying holiday songs. I'm sorry.

Loose 20 minute warm up and experiment rolled into one. I've noticed normally when I work in photoshop I keep the transparency set at about 80% or so. I may get crazy and drop it down to about 40% for an electronic "glaze". (But only if I really want to live life on the edge.) This time around, after I had most of the shapes where I wanted them I started playing around with a really low opacity. I hoped to soften edges and drop in some tone where things should be shifted towards light or dark.

Photoshop CS3. 20 minutes.

Day Job

Sometimes the day job spills over into my art. Once upon a time I was sitting down with my boss and playing with her iPhone. I went to play with the camera (I don't know why, it just kind of happened, okay?) and she pulled a silly face. As she's been known to do. Like the sneaky little sneak that I am I emailed it to myself. I swore one day that I'd do something with it. So, viola!

Continuing my exploration of the digital realm. I think part of my trouble is I think square. When I'm painting in the real world (as if I enter some alternate dimension to paint with pixels...) I use flats and brights for about 92% of what I do. I really only pull out a round for a few details and to sign my paintings. To that end, while there are some nice flat brushes in the software I use, it has the disadvantage of not being able to be turned in space. If the brush has a natural 45° slant to it, it will always have that slant. I can't rotate it and get a wider stroke or turn it on it's edge and get a fine line.

This time around I kept the image in Photoshop (as opposed to getting frustrated and moving it over to Painter, as I've been known to do) and simply used the default brush. I'm pleased with the results, but it doesn't really feel like me. Yesterday's painting has more the feel I want to be getting from my tablet, but wasn't as tight as I'd like it. I don't know, something like 10% tighter would be better I think. Next time mayhap I'll try the square brushes in Photoshop, but so far Painter still has my heart.

However, thanks to my buddy Brian the color-choosing process went a little easier this time. He sent me this link that really simplifies it to an almost "no-brainer' level. I've know (and have been rather intimate with) the HSB sliders for the last few years, but I overlooked the swatches entirely. I'm sorry, swatches. Can you ever forgive me?

P.S. My boss doesn't always look like this. Only half the time (maybe a little more). I swear.

2 hours. Photoshop CS3.

Sketchbook Dump

I've been... well, let's face it, I've been in a weird mood as of late. As a result, I've kind of taken it hiding in my sketchbook in the wee hours of the night scribbling my tiny little heart out. Here are a few choice pages that I quite enjoy.

Anywho, I feel I'm on to something. As such I've started experimenting in this general direction and will have posts to that end shortly.

Quick Practice

I'm toying with the idea of starting a digital sketchbook. To that end, I may be doing more quick portraits

30 minutes. Painter IX.

When experiments fail

I think I mentioned in an earlier post that my lady has given me a bunch of panels that she found left over from a past life. So, in continuing my head studies, here's another one of Katharine.

Originally I had set out to paint something else on the board but quickly realized that the 8x10 surface was no where near suitable for what I had set out to accomplish. So I turned the board one quarter turn clockwise and just started painting. I had to abandon it after about an hour because the darn thing was WAY to absorbent.

I learned that it's important not to trust panels given to someone that are then given to you. As near as I can tell the woman they came from used absorbent ground instead of gesso to prime this batch, so everything I put down immediately seeped into the board. It was kind of like painting with the stuff glue sticks are made out of. I have since re-gessoed all of the remaining panels.

That being said, I'm pleased with the likeness and the overall handling of the paint (before I got too frustrated with the hair and summarily trashed it). I'd mark it as a stalemate. I've been told she looks intimidating, like she's going to try to eat your arm.

Oil on canvas board. 8x10

Hanh

I was down to my last 4x6 panel a few months ago and I wanted to make it special somehow. I have the tendency to get overly precious about the last of anything I have, even if getting more is a simple matter of picking them up the next time I'm at work. The point is, I wanted it to be good and from the heart. I can be such a sap like that sometimes.

Naturally I spent a great deal of time agonizing over who I was going to paint for the last portrait in this round of 4x6 paintings. Then some friends of mine lost someone to a drunk driver in an accident. They were all devastated, and while I didn't truly know the fellow, it reopened a lot of wounds from when I lost my friend Hanh. I spent the next little bit of time looking for a picture I could have sworn I had. All I could come up with was her volleyball picture and though the face in that picture is less than half an inch high, I couldn't abandon my pursuit.

I've always wanted to do a portrait of Hanh, but never felt capable of the challenge. And though I fought this painting every step of the way and it didn't turn out anywhere near where I hoped it would, I still love it. In many respects it was just like my relationship with Hanh, and it brings a smile to my face.

So this is for you, Hanh. You're never too far from my thoughts and somehow still manage to be a source of constant inspiration. I miss you.

Back to digital?

I keep hearing that digital is the wave of the future. Actually, if you recall my meeting with Donato he went as far as to say that painting for illustration was dead. Well, I still don't agree with that but something compelled me to see where my digital chops were these days.

I aimed to kill two birds with one stone with this piece. I've noticed I have a tendency to want really dramatic light patterns on the model when I'm working with the figure. I think it's something I've picked up watching a lot of beautifully lit movies and television shows (Lost, in particular). After all, "light is the great designer". But I'm slowly working towards having more well-lit models and not just "TA-DA!". So the first challenge was to use a picture that wasn't so dynamic with the light composition. Something natural. (Though I should have used a photo that wasn't lit in the luminous nightmare that was my school, where the light was anything but natural.)

Second I wanted to create the entire image digitally. I'm still undecided when it comes to digital illustration, which is funny because it wasn't that long ago that I considered myself a digital illustrator. I think there's definitely a place for it, and there are people who are doing fantastic work with pixels, but there's too much out there that looks the same. To paraphrase a teacher of mine, you can walk into any high school in America and find dozens, if not hundreds, of kids who can do it. I personally would like to create something that my client's niece or nephew couldn't cobble together.

That being said, this digital painting was created on two (count 'em, two) layers. I have been infected with the traditional approach to a painting! The next time I give it a crack I'll be sure to use multiple layers, and masks, and blending options and, and, and... The most difficult part for me was I could think of my palette and know what colors to mix in what amount for the color I wanted, but with Photoshop I wasn't afforded that luxury. (Another reason I love painter...) Sure, I could have imported the photo I was working from and just use the eyedropper to get the exact color I wanted, but I didn't want to do that. Somehow it felt like cheating. All in all I'm pleased with the results. I may go back in to darken some bits up here and there, but I like it. I think my bias for square brushes shines through. I was frustrated I couldn't just twist the tool in my hand to get the shape I wanted. I know I could fork out a few hundred bucks to get the newer tablets, but I think I'll play with it some more and then decide...

It just all still feels too clean to me.

4 x 6 inches (288 x 743 pixels). Photoshop CS3. 9 x 12 Intuos 2 tablet. 1 1/2 hour.

Vacation's Over.

I'm back to finishing off my 4x6 portrait series. I know it's been a month since I've posted something, but I plan on returning with a vengeance. I was sitting down last night to work on a submission for the Communication Arts annual and I decided to knock out a portrait as a warm-up before I sat down to what I thought of as my real work.

If nothing else I'm pleased with how natural this one came out. I worked on it for about twenty minutes and decided I liked it just the way it was and just stopped painting out of fear of ruining it - as I've been known to do.

Aside from that I've spent two weeks delving into the work of Ashley Wood ( here and here ) and I think it shows. I've been wanting to loosen up and be more... expressive (Mark Eanes would be proud, I think) in my paintings, and I think Mr. Wood helped me do that whether he knows it or not.

I've got one more 4x6 canvas in my arsenal at the moment, so I may be calling it quits on that in the near future. But fear not! My lady gave me a stack of painting surfaces she happened across, so I'm sure I'll be experimenting on those as well.

Oh! Also, before I forget; my buddy Rusty showed me some love on his blog, so I'm going to point you over to his blog in hopes that you'll give him some love too. Here.

Back to the 4x6

My freshman year in high school I had an English teacher. (Most of us did...) This just happens to be my freshman year English teacher.

Kind of. I started rooting through old photographs the other night during a particularly vicious bout of insomnia and decided to give this one a shot.

Up until now I've been limiting myself to about an hour on each of these 4x6 portraits. Firstly, I cut that time in half. Then I tried to work with a bad piece of reference (there was no real shadow structure to speak of) and I cut the time in half. While I was in school the mantra "you're only as good as your reference" was drilled into my head. This compelled me to learn to take good reference photography. However, sometimes the client provides you with the reference - and when that happens there's often something to be desired.

All in all I think it turned out decently. My wife could tell who it was from twelve feet away, so that's something. Next time I'll keep one of my limitations; good reference and half an hour -or- poor reference and an hour time limit. Baby steps. Baby steps.

Harumph.

This is Katharine.

I think I overworked Katharine, this painting doesn't have any of the freshness I had been working towards. My friend thinks it's probably the best so far in terms of likeness, and I agree (though I still really like the last one I did of her and the self portrait) but it feels... I don't know... stiff. I like it, I just think I should have held back a little is all.

The image is a little dark because the painting is a little dark. I've always felt my paintings were too technicolor and high key. I blame my enduring love affair with cartoons, but the colors were always super bright with darks mixed in here and there. Mayhap the brights are used a little too sparingly in this painting, but I think I'm on the right track.

Oh, and I'm figuring out how to paint hair.

Keep your comrade warm...

Sigh. This one's a little different. I'm still along the vein I want to be on, I've just taken a slight detour is all. This isn't as "chunky" as I want to be working at the moment, I've softened the edges too much I feel. (Though maybe that's a good thing in the difference between handling a man and a woman...) The drawing was poorly established, and it shows, but it isn't terrible. The likeness is in the ball park just not spot on. I think I'll have to give it another go, but that goes without saying.

I think I'm getting better at accurately seeing and evaluating the effects of light. These paintings have become less monochromatic "flesh" colored studies, and have evolved into honest portraits in the flesh, so to speak. Even looking back a mere two weeks or so ago... progress is being made. Like they say, "you learn to paint by painting."

The disappointing factor in choosing what to paint these days has been my reference. The pictures are all well and good, just... not very interesting. The self portrait a few posts back I kind of lucked into as far as interesting lighting, but I've been practicing a lot with shooting reference and I think I'm getting the hang of it. Next up: warm light and cool shadow; along with temperature and value changes as the planes change. I think it'll help me avoid the over all... red... feel like this. I tried to cool it down with a purple-ish background, but that actually only made things worse. Sometimes contrast isn't your friend.

Moving on... it would seem that the Graphic Artists Guild is suing the Illustrator's Partnership of America . The idea sickens me. BUT... I'm reposting a link I've stolen from Irene Gallo's blog that any visual artist (or anyone that cares about visual artist's rights) should look into and considering signing the petition to stop the lawsuit:

http://stopsuitpetition.blogspot.com/

I'm kind of sick of the Guild. I wish they'd stop acting like they're speaking for ALL artists - because they quite obviously don't. Though apparently they feel they can sue anyone who speaks out against them. Ah... litigation.

Oh. Before I go, it would seem that there were over 5,000 entries into the Societies 51st annual, and only 449 pieces were accepted, which is a scant 8 percent or so. I only stood a 1 in 1,000 chance of getting something in, assuming everyone else who entered submitted 5 pieces. Really I think it was more of 1 in 5,000. So I really don't feel so bad.

I really want to end this post on a happy note, but I've got nothing. So, smile. Just because I said so and because they're infectious. Smile enough and you can't help but feel happy. I promise.

Insomnia has its uses.

Well, my beloved insomnia strikes again, so I thought I'd take advantage of it and post the mini-painting I did this afternoon in the hour before I had to leave for work. I think I'm on to something. The only problem with being on to something is I want to go back and fix old paintings (or redo them entirely) so that they all "fit". There aren't enough hours in the day...

This pretty much marks the first self portrait I've painted since high school. I did one in gouache in my sketchbook about a year ago, but I don't know... I have trouble calling things in my sketchbooks paintings, even when I'm using paint to make the marks. Ok, fine, how about this; this is the first self portrait I've ever done in oil. I think. I can't remember any others, so therefore they must not exist, right? Right.

I learned a few things working on this little guy. Primarily I pretty much have a dark caucasian tone to my skin. Since I basically got away with using the "formula" I normally use for painting people (and I tend to paint a lot of caucasian people) with more of the slighty darker tone serving as a midtone. Ok, I think that's actually the only thing I learned about my features doing this painting. The nose came out redder than it is in the painting - but I did make my nose redder than it is in actuality. Why? Artistic license - that's my story and I'm sticking to it. Aside from that I learned that I need to learn to mix better greens and that painting a dude is just as easy (or difficult) as painting a dudette. (I was recently asked me if I planned on painting a man any time soon. I guess this is as close as I could come.) I do remember thinking in the early stages of the painting that "painting black people is hard!" but like I said, I'm just a dark white person, so it worked out. I intend to work on that and maybe do Matt Crane proud and finally start painting culturally... (Whatever that means.)

Last but not least I learned I need to find a better way to photograph stuff like this. I know how, actually, I'm just lazy at 3 in the morning and don't feel like setting up a tripod to get a better picture. If I get enough in the way of protest I'll see what I can do. I just look at it as incentive to invest in proper light set up. Well, it's either that or figure out how to create an overcast day on command. Now, there'd be a neat trick.

And the beat goes on...

I know. I know. I've been kind of slacking off with this blog lately. But I haven't really had much I wanted to put up. That is, obviously, until today! I've been hitting the easel fairly regularly these days - not doing anything of much import, but practicing, which is deathly important. Deathly. God's truth. Anyway, I've burned through four more mini canvases doing mini portraits and I'm here to share the results.

Clockwise from the upper left we have; Kari, Gretchen, Bonnie, and Danielle. The fun has been in trying a different approach each time. With Kari I was still drawing with a brush with asphaltum , but I changed my approach to handling of the eyes, which I like. Both with Gretchen and Danielle I did an under painting in terre verte but where I was going for darker shadows with Gretchen (and leaving the picture-plane left eye all in shadow) I tried a higher key handling of Danielle. Also I tried mixing different combinations than my tired go-to flesh formula, and I think it turned out ok. It's hard to see in the picture, but I like the handling of the area around the mouth. Bonnie was kind of a mixed bag of approaches. I did an actual charcoal drawing for the structure (since I'm more confident with a pencil than with a brush) and took my go-to flesh formula and complemented it with mixtures that I learned painting Danielle. The overall handling of paint in this one is more of what I'm after. More chunks. Less blend. We'll have to wait to see where I go from here.

And the beat goes on.

Smallish portraits

I have a small stack of 4x6 canvas boards and until recently, I was at a loss of what to do with them. Since I usually paint on a fairly large scale, I only have two uses for 4x6 surfaces;

1. Small preparatory studies - for color, value, composition and the like.
2. Practicing random approaches and experimentation.

The great thing about it of course, I don't have to prep any surface. So I get to unwrap the board and let loose. I'm trying to limit the studies to about an hour to help with strong decision making skills. I submit to you, the two that exist so far.