Thursday, March 16, 2017

Alison 3/16/17

Alison 03/16/17, Oil on Linen, 36"x 60", 2017
Bernardo's class opened with a lecture on Raphael.

This painting has a real presence to it. I am starting to get the hang of this particular painting technique.

Thursday, March 2, 2017

Alison 03/02/17

Alison 03/02/17, Oil on Canvas,  30"x48", 2017.

Bernardo's class opened with a lecture on Michelangelo and Leonardo. They really play off each other thematically. Aristotelian vs. Neoplatonism, atmospheric haze vs. solid form; plenty of discussion to be had. 

Think I'm getting the hang of this painting method. Not closing the shapes is super difficult for me, but I think I did okay with this one. I keep visualizing the painting,  like a net or a bowl where the surface of the form is this shape. Then thin points in the painting read like holes in the net. So each pass of paint and marks becomes trying to fill in those holes.

Monday, February 20, 2017

Large Painting #4 - Day 3

Figures #4 -  Day 3 , Oil on Canvas, 72"x48" 2017. 
Third day, working with the dead palette again. Major focus was defining the second figure.

The central figure looks kind of stiff. Its some problem with the drawing of his legs.

Sunday, February 19, 2017

Large Painting #4 - Day 2

Figures  #4 -  Day 2 , Oil on Canvas, 72"x48" 2017. 
Today I started the dead palette (yellow ocher, flesh ocher and cold black). I spent most of the day blocking in the space and the major figures.

The biggest change is to the second figure. I reshaped an earlier maquette into this pose and blocked it in the outline.  I am finding working this particular way that it is easy to lean on distortion and anger for an emotional response. Its really easy to tear apart of break the form. I wonder what is the extent of this emotional vocabulary.

Its starting to pull together.

Saturday, February 18, 2017

Large Painting #4 - Day 1

Figures #4 - Day 1, Oil on Canvas, 72"x 48", 2017. 
This is the fourth of the 5 paintings that I'm working on for my thesis,

Working from the clay models then translating them into a painting has been very productive.

I am working from a few small study drawings that lead me to this image. Standing in front of the 6 foot image the half figure is a little less interesting and reading very zombie movie. The distortions of the figures im trying to make them look less gory more that is an intrinsic state of the figure.

Today I toned the canvas with Cadmium Red then worked in Raw Umber for the initial under painting.

I think tomorrow im going to start on the dead palette.

Sunday, February 12, 2017

Il Papa

Il Papa, 9"x12", watercolor on paper. 2017.
Got a commission from a friend to do a watercolor for his mother's birthday.  It is a pretty straight forward picture of the pope. This was an easy commission given my cultural catholic upbringing.

It's photo based so there is not a lot to write about. I did make an active effort to make the pools of watercolor rhythm across the page. My illustrator skills are getting way stronger.

I did get to see Pope Francis last year when he was in New York. I do like the general change of direction he represents. Plus he's Jesuit and St Francis is a great namesake plus the subject of an amazing Bellini painting.  

Tuesday, February 7, 2017

Anatomical Drawing Long Pose - Day 3

Anatomical Drawing #1 - Reign and Dave, 18"x 24", Graphite on Paper, 2017

Day three of the long pose is all about details.

Dan Thompson's lesson today was all about the knee so it felt only right to focus on the knees of the models. This drawing is great for comparative purposes. There is a lot of difference between the male and female model's knees.

There is balancing act  between what is there observationally and what should be there. The puzzle of observing a body and relating it to a theoretical system individual to the artist. Keeping it interesting is always the challenge of these poses.

Before class next week I hope to get the background nailed in.