Preparing for another house portrait...
Friday, November 30, 2012
Tuesday, November 20, 2012
Here is the last of the house drawings I've been working on for the same customer (the first they got through a charity auction bid, and after that they asked me for three more.) I had to get the last three done by Thanksgiving, and I made it just under the wire. This was finished last Friday night, and I delivered them yesterday.
They wanted the marina side of the house drawn, which presented a bit of a challenge: How do I make it a house drawing, but still do justice to the great view of all the boats? Well, I had already done the front side of the house in an earlier drawing (the back of the house is towards the marina.) I felt that freed me up a little to make the boats more dominant, but I still wanted the house clearly visible and to stand out a bit, even if it was in more of a backing role.
I find that each drawing presents its own set of challenges and tough decisions. There were plenty in this one, but the two that seemed to stand out the most to me were how to handle the water (consistent, flat pen strokes to emphasize the plane, or more varied strokes to give more of a sense of "shimmer" and shifting light? And, how do I shade the large white areas of the boats?
This drawing is 11 x 15 inches, drawn with .05 and .1 Sakura Pigma Microns, a .1 Staedtler Pigmentliner, and a .03 Copic Multiliner.
This might also be the first pen and ink drawing in which I used a straight edge for a notable portion of the inking. I used one to get straight lines on the rigging.
Tuesday, November 6, 2012
Sunday, November 4, 2012
Wednesday, October 31, 2012
Tuesday, October 30, 2012
Monday, October 29, 2012
Friday, October 12, 2012
Tuesday, October 2, 2012
Monday, September 3, 2012
Wednesday, August 22, 2012
Monday, August 20, 2012
Wednesday, August 15, 2012
Wednesday, August 8, 2012
I've been working at a school on painting a concrete wall to match the building's stonework. It was bare white before; here are some photos of how it looks after I primed it and filled in most of the faux stones. I still have a lot of work to do. There are still large areas of plain gray primer, and then I have to paint in the mortar and figure out how to put in some shading and color gradations. I also plan to put in some detail work.
I estimate this at being a little under 700 square feet, so it's far and away the largest art(-ish) project I've worked on.
Wednesday, August 1, 2012
Saturday, July 14, 2012
Monday, June 18, 2012
I finished this commission in time, a couple of days ago. This is a 2004 Ferrari Spider, oil on panel, 16 x 24.
The background is cobbled together from a few references, and quite a bit of it is just made up. I had never painted a palm tree before, but I think these look sort of nice.
Wednesday, May 30, 2012
This drawing is 8 x 10 inches, black walnut ink on bristol. I only had a small window to get it done, soI worked fast on this one. It's not quite a "polished" as I usually like, but I'm pleased with it nonetheless.
Tuesday, May 29, 2012
Pretty frequently I'm startled by my lack of art knowledge. Sure, most people I know really aren't into art, and have little working knowledge of any medium. To them, I'm sure I seem like I really know what I'm talking about most of the time. And to other, more established, experienced artists, my lack of knowledge isn't surprising at all. There is so much to learn that, even you are devoted full-time to learning about art, there is always something new to discover.
Still, I regularly learn something that makes me think, "Wow, how could I not have known that?" The most recent example is pyrrole red. This is a pigment that was developed in the 1980s, so it's been around a while. It's a relatively inexpensive red, cheaper than the expensive cadmiums. I've learned (through internet research) over the past week that it's a great, versatile color, and very bright. Many artists consider it a very important tool.
I don't have this color. I don't have any reds that have this pigment in it. Get this: this color is also nick-named "Ferrari red." Hey! And I'm painting a Ferrari right now. I guess I'd better buy a tube and check it out.
Another thing I think about, related to the above: I feel like the technical aspect of painting was largely glossed over in my university studies. What did we talk about instead? Well, there were a lot of generalities (don't over-mix the colors…perhaps you want to try more muted tones…etc.). Most of all, I think there was discussion of the drawing aspects of painting, such as getting value right (something that, honestly, probably can't be over-emphasized), proportion, paint application and brush strokes.
I can recall very little discussion, however, of opaque pigments vs. transparent pigments, or having on hand cool and warm versions of the same hue. There was certainly little information presented on glazing, which frankly I'm not sure any student I was with ever really attempted.
I'm not at all faulting any of my professors. They had their hands full just trying to coax us into the ability to paint a portrait with vaguely human features, and I am forever in their debt. The information has always been available for me to learn. Maybe I don't really ever learn something until I truly need it.
Monday, May 21, 2012
I put in a little overtime on this drawing over this last weekend; it's another one of the multiple commissions I've accepted for a relatively short space of time. It felt good to get it done! I'm pretty pleased with the outcome. This is 11 x 15 inches.