More Cute Kids

I drew this image on canvas in anticipation of painting it. It is not meant to be finished and certainly the values are not accurate. These are a friend's kids. Given the small size of the canvas (12 x 16), I needed a more precise drawing and why I drew this first. I'm hoping that I won't be so uncoordinated that I can't paint this small. I hope I can paint with a respectible size brush albeit small to start.

I never draw on canvas as a first step. So, I'm hoping it doesn't bleed into the paint. I used a #2 pencil rather than vine charcoal, which is very invasive. I combined two photos, which I think is obvious. I think I might have to shrink the girl as she is supposed to be in the background. I think her body is too long or something, because her head looks right and her body doesn't -- my previous blog may be spot on. Because these are separate photos, I don't have reference or relative points to measure and hence my struggle. I really wanted to do a beach painting, but when you find the perfect pose, you've got to go with it. They are so cute!!

Beach Painting #2

I had yet another blast painting this scene of kids in the surf. Class was such a charge that I don't know how I'm going to fall asleep and I have to wake up in 5 hours. Yet, here I am posting to my blog instead. This is a painting of a friend's nieces. It was fun to paint a full standing figure. I had to use a larger canvas (16 x 20) compared to the previous painting because of the standing pose and that was definitely a good decision. It took me two (albeit quick) tries before I was able to get the whole figure on the canvas with enough atmosphere to allow the viewer to "travel into the painting"--well at least I hope so.

Once again I used the process I learned at Studio Incaminati many years ago to start with an armature (stick figure and block for a head) and then paint the flesh on top of it--kind of like sculpting. That approach and 8 hours of 1-2 minute poses for two weeks cured me of any apprehension in painting figures and painting them fast. While doing the armature, I compare measurements to each other--not in any precise way--just checking to see where the top of the infant's head hits the head of the teenager, or where the infant's leg hits the teenager's leg, what is the angle of arms and legs and how they relate to one another. It is truly all relative. I might have to take a picture of this stage if I can remember to do so--because it is truly the best way to figure paint.

One of the trickiest parts is getting the size, length and angle of the legs right so they are not out of proportion with the head or arms. I know this is all gobbly gook if you are not a realistic artist, but its one of those things that took me a few good classes (e.g. kick in the pants) to measure how far the knee extends beyond the head (at least in this case). You get that distance wrong and your legs will appear too short (usually) or too long. Anyway, that was probably the biggest area of reworking throughout the night and I still think the knee needs more definition. I'm going to let it dry first however before I mess with it. Okay one quick thing before I go to bed. The waves are huge haphazard brush strokes. I like them now but I think I'm going to tone them down in case I disagree tomorrow. I can always add that texture back, but can't take it away.

PS: Mystery of the night: How does blogger know to rotate a photo when you have taken a sideways shot? Brilliant.

Reception at the Salmagundi Club

I traveled to NYC this weekend to attend the Salmagundi Club's Annual Non-member Show reception, where I'm proud to have had my "Parrot Tulip" painting displayed as a finalist. The show was spectacular, with very high quality work by all and some well known artists I recognized. I was thrilled that Jean Schwartz and her husband attended the event as well. Jean started the Art League Plein Air Painters that I have joined to paint along Old Town's waterfront. We had so much fun meeting the other artists and members of the Salmagundi Club, including President Claudia Seymour. Jill Banks, fellow painter, also had several pen and ink drawings in the show that was downstairs in the billiard room. The Salmagundi Club is a beautiful venue.

I arrived early Friday on purpose to get some photos of New York urban scenes. I also took a quiet hour and saw the show before the crowd arrived for the reception. I also took some pictures of my favorite pieces from the show, which was pretty much every painting. Jean had a gorgeous landscape of the Potomac that I have pictured above. After a beautiful sunny afternoon, I was surprised to exit the reception and it was pouring. None of us brought an umbrella, but Jean's husband Dick was nice enough to get wet and hail a cab. I tried but failed miserably, with one shoe flying into a puddle. It took a while, but we succeed in getting a cab and returned to the hotel for late nights snacks at the bar at the Washington Square Hotel -- a quaint boutique hotel with lots of character and well situated.

I have to share a funny story. After thinking I packed like a pro, I realized that I had forgotten my contacts case, so what did I do? I put my contacts in a glass of water. In the middle of the night, half asleep, I got up and got a drink of water. Can you tell where I'm going with this? Yes, I drank my contacts.

The next day, it took me a while to get organized and buy readers so I could see, but I finally made it to Central Park for more pictures. I rarely go to NYC so I thought I would take advantage of the trip. I got some great photos of people boating, the horse draw carriages and people generally milling about. In fact, there were several artists painting and teaching in the park. I took this picture of a class in session. I got brave (and because I had to watch my pennies) and took the metro to Central Park and back. Wow is that complicated. NYC makes the Paris and DC metros look like child's play. There are the locals and expresses and same color lines going different places, stops closed down for repairs and detours, plus you have to know the names of different parts of the city to know what direction you need to head in....yikes. Getting there was easy. Getting back was a mess. I mean it is a labyrinth underground. I couldn't find the exit to Waverly Place and ended up about 4 block away, with no time to spare to make the Megabus back. Needless to say there was much running and sweat. I made it with only seconds to spare.

I took the train up and the bus back. I highly recommend the train. My advice is to book the train at least 14 days in advance and each way is only $49. I paid substantially more for my indecision and last minute booking...hence why I had to take the bus back. Anyway, what an adventure. I would love to grab a few plein air painting friends, stay at the Chelsea Hotel or some other cheaper hotel and paint in Central Park all weekend. What fun that would be.

Fall Course Begins September 22 at ArtSpace Herndon

I will be teaching again this fall at ArtSpace Herndon. I call this a Beginning to Intermediate Painting course because you truly do not need experience to come to this class. You will learn the basics of three dimensional realistic painting in oil. While I set up a still life for those that don't want to think about projects, students can come with photos or other set ups if they desire (please tell me in advance however). If interested, please feel free to call ArtSpace.

Below is the course information and description:

Beginning and Intermediate Oil Painting
Thursdays 7-10 pm
Location: ArtSpace Herndon, 750 Center Street (703)956-6590
8 Sessions
September 22 - November 17, 2011
(no class October 27)
Cost $200

Learn contemporary and classical methods of realist oil painting. Students will work from a still life set up I create or can work from their own photos. Students will begin with drawing the subject and learning how to place the objects on the canvas. This will be followed by laying down large blocks of light and shadow colors. Students will learn the importance of placing the highlights and darkest darks on the canvas early in the process and how to work the values in between--the key to a three dimensional appearance. Refinements to the drawing, color temperature, contrasts and value will follow. Students will also experiment with grisaille drawings and transparent color glazes. No experience necessary. Adults and teens welcome.

Beach painting

A few days ago, I mentioned that I was planning to paint a beach painting of my friend's children. Well that didn't happen when I had hoped, but I got to it last night. I had more fun creating this painting than many before it. I feel completely lifted up and wonder what life would be like if I could do this every day. It has been a long time since the paint went flying. I think I finished this in slightly over two hours. While I need to do some correcting, I don't plan to do much.

I worked from a photo (clearly) that I took a few years ago when we all went to Hilton Head. I loved this shot, so much that I've painted it twice. One that I show you here and one that will never see the light of day because I used too big of a canvas and make a production out of it. This pose and subject to me doesn't really lend itself to a realist "production." I tried to be loose and impressionistic here. That is very hard for me because I want to paint all the detail and despite every effort the painting tightens up pretty quickly. I stopped myself by not drawing in the figures. I just did an armature (stick figure and square for the head ) and started applying paint. When I made a mistake on the figure, I used the blue background to carve out the right shape. Don't tell anyone but there is a painting underneath. That is another trick I use to force myself to work fast and thick. Anyway, I love the ultimate effect. I've got to do more of this fast painting -- hence why I've been going outside of my comfort zone and plein air painting.

Sunday's Plein Air Event

Here is my effort from a few Sunday's ago at the Plein Air painting event of the Art League Plein Air painters. I just realized this didn't post when I had planned, so it is quite delayed.

It turned out to be a study in blue, white and yellow. The sky was overcast that day. Everything was gray to start, but then the sun came out so it is a bit of a gray painting and a sunny painting.

By the time I left, I had a few "birds" in the sky. They were actually bugs that got stuck to the paint that I plucked out with tweezers when the paint dried. Ah, the pains of painting outside.

Something Hot Exhibit

I was so excited to find that both of my entries into the Gallery 222 "Something Hot" show, were accepted. I entered "Figs" and "Old Town Marina" -- the painting I painted last month with the Art League plein air painters. The show will run the month of August. The opening reception will be Friday, August 12, 2011 starting at 5:30 pm. I hope you will come.

I painted au plein air Sunday at the Old Town waterfront behind the Torpedo factory. I'll show you my effort tomorrow. Boats again of course. The Art League Plein Air painters will be painting this coming Sunday too as part of an effort to promote the waterfront. So come look for our group in the morning.

Exhibit at La Bella Luce

I am very pleased to announce that I will be the featured "artist of the month" in November 2011 at La Bella Luce, an adorable Italian antique furniture, chandelier and decorative boutique . The store is located in historic Clifton at 7137 Main Street. The store also carries Italiate pottery, linens and other decorator items. I hope you will come view my paintings and join me for the artist's reception--which is not yet scheduled. November is also a perfect time to do a little Christmas shopping...:-) http://www.labellaluceimports.com/

Peonies Session 5

UGH