Gypsy Skirt

Why did I decide to paint this subject? Was it the simple curved composition, the cool tones plus rich reds, the quiet mood…yes, all those things. So I begin by looking at my options with a couple of small value studies. How can I push what I want to say, the feelings I have for the subject?value.studies.blog

First a little line drawing, than layout paper over it. This way I don’t have to redraw the image over and over, it’s visible through the paper, so with two pens, one black, one grey (the paper is the white), I can quickly try out different combinations.

It’s about disassembling the parts and putting it back together. In the left sketch, the  foliage, skirt, top of bench and shadows underneath are the darkest value. Everything else is medium except the light falling on her right side. Hmmmmm….this could work, but that big dark foliage kind of pushes down on her, creating a heaviness.

The sketch on the right holds the darks to her hair, skirt and the under shadows. Everything else is grey except her face, body and shirt are the light tone. Without the dark behind her head she seems taller, lifted. This is definitely the directions I want to go. Either one would work, but the one on the right is what “I” want to say about this scene. This is where getting away from being too literal can be really fun. It’s all about choices.

Next on to the color study, I already have the drawing, the one I used under the value sketches. What are the variables here; this is a scene in the shade, so there are going to be lots of cool tones. Going to want to play with some warms also or this might get too cold. An underpainting wash of warm violet and red orange would work well.

If I’m thinking about doing this in my painting, I need to do it in my color sketch, or they aren’t the same thing at all.

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The sketch with Quinacridone Magenta and Cadmium Red Light wash. I like to let my undertones dry completely, that way I can paint over them or scrape back to them.

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The small color study. Notice I’m not trying to match the values to the previous plan but I am matching the relationship of each area next to another. Squinting will help you see that the darks are the hair, skirt and shadows under the bench, the mediums are everything else except her face arms and shirt which are the lights. There are some accent darks and lights here and there but it still holds to the original plan.

The questions that I want to get answered here;

How cold should my coolest color be, and how warm should my warmest color be?

How dark is my darkest dark going to be and how light is my light?

Which colors and values work best next to each other?

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In the final painting there was lots of room to”open up” the color study, work more interest into areas. Having solved some of the bigger problems up front allowed me to have more fun and freedom in the actual painting.

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Painting Words

Have you ever had a subject you went back to time and time again, but just couldn’t figure out what to do with it?

This image from a photo shoot several years ago kept surfacing. I loved the scene, although it was not dynamic enough to warrant a painting . . . until…..I approached it like a writer telling a story.

Where did this girl live, what was her day like up until this point, what would she be doing in a hour? Only after I “fleshed her out” did I start to understand what this could become.

After extrapolating this scenario it was time to rein it in, to its’ most basic core, two words that summed it up. “Dreamer” and “Earthy”. How could I, using this reference, translate these two thoughts into paint?

“Earthy”, push rough texture, use warm orange browns and greens.

“Dreamer”, exaggerate her expression and stance

Now I had something to work with! Since there were not many browns and oranges in the scene, putting a Burnt Sienna wash over the entire surface, than letting it show through as texture would be my approach.

At this point I checked back with my original plan…whoa, no violet in the interpretation I wanted, so I had the choice of pushing this area toward brown, orange or green, I chose a grey green. Sometimes being really rigid and sticking to an idea helps guide the painting toward more harmony, this was one of those cases. 

Moving along, this was the point to refine her stance and expression.

I was happy with the outcome of using words to drive my paint application.

“Waiting”, can be seen at the Meyer Vogl Gallery, 122 Meeting St., Charleston, South Carolina in early October.

 

 

Michael Carson Workshop

Living in Phoenix definitely has it’s perks. One of them is living near the Scottsdale Artists School, where 50 or more well known artists teach workshops throughout the year.

One particular class that appeared on the schedule caught my eye. Contemporary figurative painter Michael Carson was offering a class. I’d seen Carson’s work online and at the Bonner David Gallery in downtown Scottsdale. You can imagine my disappointment when the class filled up right away, which only left me with a spot on the waiting list.

Fortunately a second class was formed and I was in!

The workshop just wrapped up Saturday with a fabulous morning demo. Michael painted beautiful Dakota Acosta, the process is shown below.

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Michael Carson Demonstration

Working on a resin surface which he created himself by pouring a two part mixture over a wooden panel, he roughed in the basic lines of her face hair and shirt with Warm Grey. Notice the darker bleeding of the oil around these lines, an interesting effect. The resin appears to have a matte finish because the surface has been sanded to relieve the slickness.  Next the Warm grey was used to very carefully fill in the shadow shapes, followed by a massing in of the flesh areas with Yellow Grey.

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Michael Carson Demonstration

Dimension started appearing as he used Brilliant yellow on top of the Yellow grey. Warm hints of Schevenings Purple Brown began to form the mouth.

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Michael Carson Demonstration

Things really started to take shape as he worked into the eyes, carefully shaping the lighter areas, Next the underside of the nose and lips, all with very meticulous brush work.

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Michael Carson Demonstration

In the last session he went into the shirt, massing in with Warm Grey, than stopped to decide if he wanted to add the bright blue in the lower left area. I said to myself “no Michael don’t do it, don’t do it” and then…. he did it….and it worked! Successfully breaking two rules of painting, never add a color at the end of a painting not used elsewhere, and, always put the brightest color next to the center of interest.

So why did it work? Because that face is rendered with such finesse and sensitivity that nothing else could possibly take away from it.