I have neglected this blog (as well as painting), but it hasn’t been without a reason.
Some old (but still exciting) news is that I got some recognition from the Art Muse Contest for April 2016. Thank you so much to the judge! I was a finalist in the “Emerging” category and also got the additional honor of being eligible for Gallery Representation. Pretty cool, and I am honored and thrilled!
“The Greek Artist” also got a “Fav 15%” from the Bold Brush awards, so that was also very cool.
There were a couple of other honors, and I need to update my “About Me” page to include them! This Spring was especially good to me.
I’ve been picking at this painting, nursing it along, and there comes a point where it has to be DONE. I think there might be a few dabs here and there I might add… but not now! Not today! Not tomorrow! I can’t take it anymore!
I’ve agonized over this painting long enough, so even though I believe it’s not “quite yet” done, I am calling it DONE! I can’t take it anymore! This painting is more like abandoned, rather than completed.
This is just a study, slightly larger than what I usually do these days (which are mostly little daily paintings of 8×10″ and smaller). While 12×16″ is far from large, it seems “big” to me!
Another exploration of cold and warm light playing on the face. I used a full-body stock photo as reference, and had to really zoooom in on the face, but there was a lot of fascinating information in the flesh tones! There’s also a bit of drama in the lighting as well. I found there were subtle pale blues in the highlighted side of the man’s face, and some warm burgundies and purples contained within the shadows. I left the collar and hair very loosely rendered, because I was most interested in the colors of the flesh.
It’s painted on Gessobord, a favorite “guilty pleasure” painting panel. I keep obsessively collecting Gessobord. It’s a hardboard panel with a wonderful, smooth eggshell-textured white coat of acrylic primer on top. I love this painting surface but try to control myself and don’t use it all the time!
Another month, and some new works! Yes, there has been a lapse of paintings for this blog. It was a busy few weeks. But I’ve still been hard at work, painting!
This cat head painting was a particular challenge, because of all the . . . splotches. Our family calls calico/tortoiseshell kitties “splotched” kitties, because of all the multitude of colors. Well, actually my dad called these type of cats “multi-color.” We can’t just call them “calicos,” now can we? 😉
The challenge in this painting was representing the splotches on the surface of the cat, while still representing the form and dimension. I hope I succeeded in that. It certainly did make me think, as I painted!
In addition, here’s a work in progress painting. Hopefully it’ll be done in a day or two. Not much to say yet about this one, other than I’ve enjoyed the drama drama drama of the pose!
I classify this as oils, but to be more specific, I used fast-drying oils (alkyds) on this painting. They are one particular flavor of oils and have been around for a while. (Read more rambling from me about them on this post.)
I’m a big fan of Jason Aaron Baca’s stock photos on DeviantArt. So much drama! Dramatic poses, dramatic lighting, what’s not to love? So here’s another little oil sketch based on one of his photos.
With this painting I was working again with trying to capture the light and shadow, and of great interest to me, the warms and cools. He had a lot of cool tones in the highlighted parts of his face. I’m also working on making more pronounced brushstrokes, more strong and visible. I love bold brushwork and want to get more proficient with that! So exciting!
So, another one done. Put a fork in it! Now onto the next oil sketch. I have several in the works!
I forgot to post this painting earlier. It was completed in August. I loved the intense look on the model’s face, but when I compare my finished piece with the stock photo used as reference, I realize that it ended up being more “inspiration” than a literal reference. I changed the expression, the intensity, the contrast, a lot of things. Now don’t get me wrong, it’s still obviously painted from that particular photo, but the jawline, the shape of the head, and the tilt of the head, among other things, were all changed. I don’t consider it a good likeness of the model anymore. But I have no intention of changing it.
What attracted me to this particular stock photo was the expression of the model, as well as all the variety of colors in his face—the pinks, neutral greens, and even some pale lavenders. It was a challenge trying to capture all of that in the painting. Not sure I succeeded completely, but I tried!
I used Ampersand Gessobord this time, which has a luscious, smooth, eggshell-like surface. I love it. I don’t always want to paint on that type of surface, but it is one of my favorites. It works especially well with smaller works.
I don’t quite know how to explain why I chose this subject. I liked the expression and thought it was dramatic and evocative, I guess.
There was a lot of time spent on the values, shadows, and some on the colors (which areas were cooler, what areas were warmer?). The expression of the man came together on its own; he seems at times to me to be merely intense, thoughtful—other times he seems angry and sinister. I’ll let the viewer decide!
The latest effort, only I’ve been picking at it and picking at it for a while now . . . I don’t know why some paintings are like that. There are the paintings that come together in a few hours, and then others that I have to revisit and fix this and fix that. Why why why? 😉
I liked the simple color scheme in this one (lots of black and grey) and the drama of the pose.
A very limited palette was used on this one. I maybe used some magenta or perm. alizarin crimson somewhere, but for the most part I tried to limit it to Zorn: White, Black, Vermillion (Cadmium Red Light), and Yellow Ochre. There wasn’t much need for many more colors than that.
I used an 8×10″ acrylic-primed panel from Dick Blick, it’s got a canvas-like texture which I kind of like!
I’m not sure exactly what’s going on with this one. I loved the drama (drama, drama, drama! 😀 ) of the expression and the pose. I tried to keep the brushstrokes loose, but sometimes that doesn’t always work out.
The panel was primed with an oil-based primer, which makes it so nice for wipeaway and texture, like you see in the background. I first covered the whole panel with a thin wash of a brown, which I then wiped away, keeping some of the color to stain the background and also to show the texture of the priming brushstrokes.
The expression is a bit ambiguous. Is she afraid, scared? I think she is indecisive, ready to make a decision and not sure which way she’ll go. But interpreting her expression is up to the viewer to decide.