Underpainting Sped Up Video
http://www.youtube.com/watch?v=udf__LzefNY
This underpainting took several hours to develop. I use a ground of Old Holland Olive Green mixed with Cad Orange and a hint of turp, and oil.
Drawing Class Revisited — A week by week update!
Corot
Class 1 – Intro and Portraiture
Class 2 – Drawing from the Model, Perspective
Class 3 – Museum Trip
Class 4 – Perspective and Grids
Class 5– Drawing the model in motion/Negative Space
Class #6 – Drawing the model in their environment.
Class #7 – Metropolitan Museum Visit
Class #8 – In Class Work Catching Up. BRING ALL WORK!!!
Rodin Drawing Dancers
Painting of Izzy – in progress
I use a ground of olive green and orange, to make mud – this I use to create the underpainting/drawing. My pallet is a mess, it is usually quite clean – but I wanted to show what I was working with as I go.
I block in the composition first, in this case I create a box within a box – as I had no time to stretch a new canvas, and thought it interesting to create something in this manner.
I know what I am looking for when I paint, and usually don’t search too long if the composition needs adjusting. Composition is the key component in creating a balance worth keeping.
At this point I am drawing with tone, blocking in large areas or values, comparing and contrasting as I go. I don’t go for temperature as it relates to tone at this point, I am only interested in the composition and how the profile relates to the edge interestingly.
Now I start to alter the values through the use of hues, or white paint. The blue in the white offsets the umber feeling the mud created. It is not apparent, as I want to reserve putting on layers of more effective skin tone value for a later day.
I alter the chroma, drawing and contrast in order to find more interest to keep moving with this painting.
Blocking in the large background area.
The photo below shows the scale of the piece, from about 20 feet back.
Stay tuned for updates!
Sage Portrait Work in Progress day 1
I started this painting several times – on different canvases – finally settling on a square format, which I feel works successfully for the subject. I am mainly focus on tone at this point, having taken some time to alter the drawing before this stage. It did not look so accurate as to my reference for a while. I sit and meditate on what needs to be done, trying all the while not to identify with the work at hand.
I am a painter, and this is the work I do. I expect it to always come out somewhat close to my vision, and the arrival does not excite me nearly as much as the journey. I enjoy the realism and truth behind tonality, the understanding of my calling – and the essential elements that go into me working in this field. I fake reality. Master of Reality!
Studio Work in Progress
Still Life underpainting
