Wednesday, December 04, 2013

Evolution of a figure painting

Thought it might be fun to post progress pics of this. A few of our full time students at the Academy of Realist Art Boston and I are working from a model over our Winter break at school. We are drawing/painting for 2 days a week for 3 days from a beautiful model, no instruction... just independent work.

Step 2 was done on a day the model was not there. I try to get as much done on background or whatever on my own so I don't waste model time!

Step 1: Cartoon

Step 2: Transfer and Drybrush

Step 2: Dead coloring

Thursday, September 19, 2013

Painting in Progress: K Salon Commission

A very talented hair designer has commissioned this painting. He did the most amazing job on my hair for my wedding this past summer so I want to make this extra special for him! The drawing is complete and here I have transferred the drawing onto a 14 by 18 panel.

Saturday, August 31, 2013

Why I love the Academy of Realist Art Boston

There is an interesting group on Facebook now called the Atelier Movement. Someone recently put up a side by side comparison of what level he was at after 3 years of college, versus 3 months at an atelier. The difference was night and day. I had my own "Before and After" set up to post recently but never went through, wondering if it was worth it to show my really early horrible horrible work.

I think it's worthwhile, because it shows the benefit of what atelier training (like the Academy of Realist Art, Boston) can offer. It may not be for everyone but I struggled for a very long time on my own and I hit a wall in terms of development. I knew I wanted to be a realistic painter, but none of the college classes (even CE classes at RISD) were giving me actual training.

I will continue to preach the gospel of atelier training for those who really want to improve their technical skills. Do with them what you will (many go on to do imaginative, abstract, impressionistic work) but you'll never be disappointed that you learned the in depth technical skills that today's ateliers are teaching.

Behold! The awkwardness of my early years of painting:

Monday, August 12, 2013

Completed Painting: Silas

Silas on All Hallow's Eve
Oil on Panel, 16 by 20

This is done, except for the varnishing. Varnishing is ALWAYS a challenge. 

Sunday, August 04, 2013

Drawing in Progress: Picasso mastercopy

This only has a couple more tweaks and then it's done. It's hard not to overwork a mastercopy of a "sketch"!

Friday, July 26, 2013

Painting in Progress: Saturday Morning Cartoons

I've actually been working on this for a while, but I couldn't share photos. I did a smaller version of this painting for my sister as her gift for being my Best Lady in my wedding and I did not want to spoil the surprise. Now that the wedding is over (it was the greatest wedding in the history of the world) I can share progress photos.

I am doing the entire underpainting using burnt sienna and white. The imprimatura is a very thin layer of burnt sienna (I think.... it's been while since I started this one). Part of me wants to dive into the color, but I think I need to work on the values a bit more before I do that.

This painting is done from a photo that my grandfather took of me and my sister when we were kids. What I think is special about this image, is the fact that there is a lot of warmth, light, and security. It is a comfortable home, where there are plenty of places to sit and rest. The house isn't prefect, or big, or fancy... but we were happy and loved. We also didn't get to know my grandfather very much since he died when we were fairly young, and seeing this photo is kind of looking through his eyes.

From what I know he wasn't a very approachable person and he was a difficult person to have as a parent and husband... but looking through the photos that he captured, there is something in these visions that makes me wish I could get to know him better now.

Art (and photography) is a way of speaking to others... through time, through an inability to say what you feel, and express what is in your heart. Choosing what to capture is a powerful indicator of the person behind the camera (or paintbrush).