3/18/2013 4:05:35 PM

To quote Monty Python, "Now for something completely different" After playing with my colorful pastels I decided to work more tonal.
This is a painting for the upcoming exhibition with my friend and fellow teacher, Amy Foster. We have worked together for some time and wanted to share our different visions of the same model and pose. I did the original painting in Amy's studio. The model was Steve who was wearing his carpentry belt. I did the painting on top of another painting and was pretty happy with the outcome. Later in my studio I went to fix areas where the original painting was showing through and managed to screw the whole thing up. Some how it lost it's pizzazz and the composition looked awkward in the frame. I knew that Amy was going to put her drawing of Steve in the show, by the way it is a terrific drawing of him full figure with the carpentry belt in full view. Amy is a great story-teller with her staging and drawings of models. Rather than forgo the work I decided to use the painting and a photo for reference. I cropped into the figure and focused on using a limited palette of ivory black, transparent oxide red, cadmium red, yellow ocher and titanium white. The transparent oxide allowed me to play with thin stains which adds dimension when you lay the lights on thick. I also let some it show thorough in the background as little peeks of red to the dull mixture of black and ocher. It is much more interesting in life than it is in the photo. This painting was also done on top of another painting but I toned the canvas with the oxide red and began as I did from life. I started by placing the highlight on the nose (white) and then keyed the rest of the colors off of that.
I enjoy bouncing back and forth between strong color to strong value. It makes the act of painting less predictable and much more fun.
For more information about our upcoming exhibit click here
3/3/2013 4:43:25 PM
The Stroll 14x20 Pastel
It is March and winter now seems long. It is too icy out to paint and so I decided to blend a photo reference, some plein air work to create sunshine. A couple of years ago I visited the local metropark to take photo references during the civil war days. Kids were running around dressed in outfits straight from "Little House on the prairie". I snapped this photo of this little girl and a boy while I stood on a bridge which is why I have a bird's eye view of her. I loved the sense of movement and the look of purpose on the little girls face and decided to use this as a starting point for the painting. First thing was to remove her companion. You can see a bit of his foot on her left.

This is not a portrait commission so I was not concerned with likeness but focused on the gesture. The perspective made it more challenging but I wanted to capture the sense of movement. Next the green grass was boring but I loved the little patch of sunlight behind her. I decided to put the photo into gray scale and play with patterns of light to create a composition. I checked the composition by running the photo through a filter called posterize which allowed me to put the painting into 4 values. This became my Photoshop thumbnail sketch.

Next I went to my plein air sketches to have some reference to speckled summer light. I used those as color references and tried to be very careful to keep the background loose. The sketches are paintings that were done from life but not finished. Working from life will give you a true reading of color and they act as a library of light reference of different seasons. I thought about how when areas of light narrow between shadows they warm and darken. Glazes of pink and orange were added around the edges of the shadows and it is amazing how adding that warmth makes the sunshine feel real. It is still snowy outside but at least there is some sunshine in my studio.