Another figure with which I'm pretty happy. In hindsight, of course, there's always something I wish I'd seen earlier. But I really like where this one landed.
This is a quick monochrome portrait of 50s model Diane Webber. Monochrome distills everything down to light, dark and whatever's in-between. It's always a good exercise. I still do some plain, old pencil drawing once in a while. But, I try to work in a monochrome portrait or figure painting once or twice a month to really keep my eyes on straight. I probably should do some cars and landscapes as well. We'll see.
That was a tough green to create. I tried to match an actual factory color. It's close-ish. If you know the color, you'll get the idea. Call it a "suggestion."
Just a loose landscape with Cashel Castle in the background. I think I went a little British on this one, but not too much. I'm pretty happy with the sky and the aerial perspective with the castle itself being a little indistinct.
I've always loved Jeeps. I didn't buy my first one until 2003 and just recently parted with it after almost exactly 15 years. A Wrangler probably will be my mid-life crisis car. Happy Thanksgiving!
I've always felt Studebaker was ahead of its time with the aerodynamics of some of its car designs. Many of their cars look like they're moving fast just sitting still.
This somewhat loose landscape of the lighthouse on Tybee Island in Georgia is based on a photo I took back in March. I changed the color of the small structure at the base of the lighthouse (I think it's the entrance). It's really the same dark gray/black that's on the lighthouse itself. But, I thought it looked better matching the other buildings. It's red roof helps draw the eye into the lighthouse as the focal point.
I finally got a rusty truck in a landscape in which I'm happy with both aspects. The truck worked out very nicely. And, I'm very happy with the field and barn in the background. There's a pretty good blend of looseness and detail, combined with some nice aerial perspective to give the effect I was after. I'll call it a win.
This is a 5"x7" ink and wash piece I did fairly quickly earlier in the summer. I was still getting used to some Isograph technical pens, but chose a watercolor paper that was a bit too rough. So, the ink lines are a little choppy. Still, I think it works.
Big Red is a small lighthouse on Lake Michigan in Holland, MI. Being from North Carolina, it's odd seeing a lighthouse surrounded by snow. But it seems to fit.
A classic Packard coupe in front of an old gas station. To emphasize the car as the focal point I added a wash of thin acrylic gesso over practically all of the background. Then I restated the lines with charcoal. In addition to making the realistically rendered car pop, this also reminds the viewer of the two-dimensional nature of the piece. While the focal point may look realistic, its environment is a barely-colored drawing. That's the academic explanation. The truth of the matter is that I fully intended to paint the entire scene in watercolor relying on loose rendering to push the background "back." But, after nearly completing the painting I realized the deep shadow of the gas station portico completely overpowered the car. So, it had to go. There's more than one way to get a painting where you want it.
This is a little 5"x7" portrait I did quickly and loosely on fairly horrible paper, Bee. It doesn't handle much scrubbing at all, or even many consecutive layers. But, as with many other questionable art products, if you're mindful of its shortcomings, anything is possible. I restated some of the lines with a sharp charcoal pencil and added some depth to the background to give it a bit of an abstract nature.
A good view of Dunguaire Castle on Galway Bay in Ireland. The scan, as usual, doesn't do this one justice. I'm very happy with this landscape. I had to fade out the stone wall and roadway in the lower right corner to keep them from distracting from the focus point. But, I think it still balances with the vignetted sky in the opposite corner.
I actually paint a LOT of figures and portraits that never make it to this blog. Many don't fit the personality of this blog. This one fits nicely and is one with which I'm particularly happy.
A quick, wet and loose wash of various blues gave me a tinted ground for this still life. Once that dried, all I had to do was paint in the shadows with a darker mix of blue. Having the image drawn out before the initial wash allowed me to leave a few spots lighter than the rest of the wash to allow for the brighter highlights. Those were accentuated a bit -- and the polka dots added -- with a little titanium white watercolor. Forget the "rule" about not using white in watercolor. The final image is the only rule that matters.
I've been putting a lot of time into trying to get figures - especially skin tones - to a place where I'm happy. I'm finally seeing a lot pf progress and I'm starting to do more at larger sizes. Most of my figures, whether dressed or not usually are either 5"x7" or 8"x10." A larger size allows more room to work the nuances of form as light wraps around the body. I'm also playing with vignette and silhouette in terms of design. While I could pick apart a couple spots in this one, there's a lot I like about it.
Another classic Cadillac with lots of shiny paint and chrome. I had some fun with this one finding ways to suggest more than show and still get plenty of detail and/or the appearance of detail, a skill I want to continue to enhance.
A quick portrait from an old black and white photo. I used my new favorite caucasian flesh mix of yellow ochre, DaVinci red (or any warm red), and cobalt blue. A bit of perylene maroon (or any cool red) is used in the middle shadows. It looks much better in person. The scan always tends to add a bit more yellow, which is difficult to fix without altering the other colors. I'm still working toward photographing all my paintings. Right now this is a content, if not happy, medium.
I painted this from a composite photo I put together from separate photos of the truck and barn. I'm very happy with how that process worked out. Too often the angles don't workout, or it's difficult to place the different objects on different planes so they don't look like they exist in the same space. And, then, of course, there's the lighting to work out. This one fell together nice and easy.
The venerable Jaguar E-Type peeking out from under a car cover. I gave this one a watercolor underpainting using the several left over colors on my palette - making that gray background color. The gouache covers right over with no migration or noticeable lifting like you might get with a watercolor wash. The abstract background shapes aren't meant to signify anything, just add a bit of depth around and behind the subject.
This one worked out a lot better than I thought it might. For some reason I struggled more than usual with this type of subject. Maybe it was the paper; I think this was a trial sheet of Lanaquarelle. Overall, I think I like the paper. But every paper takes some "getting-used-to." I might have had an easier time on Arches or Moulin du Roi.
A loose landscape with St. Kevin's round tower and graveyard in Ireland. There are certain points I'm unhappy with on this one. But, other things -- like the out-of-focus background -- worked well. This might be a candidate for another pass.
I'm not sure I've painted a Corvette in a while. Classic Corvettes are one of those cars I have to paint once a year or so because of how beautiful, popular and fun they are. So, I guess I've filled my quota for a while.
I've had the reference for this one for years. I was never quite sure about the odd angle and foreshortening. I finally decided that gouache would be better than watercolor for the almost cartoony look of the image. It turned out this was one of those paintings that painted itself in just a few hours. It was possibly the fastest I've ever painted anything with this level of realism.
Just a quick little landscape for St. Patrick's and St. Sheelah's days this weekend. As you can see, I actually painted this late last year. Since I hadn't posted it yet, I thought this was a good week for it. This is one of those sketches I might come back to for a larger painting later.
Just another little gouache shoe painting. I struggled with some of the reflections and highlights -- par for the course with me and gouache. But, I think I finally pulled it off.
I painted this from a photo I took during our January snow storm. It's the view out an emergency exit near my desk at work. Pulled the masking fluid out for this one. I almost never use it. But, sometimes it's better than adding in highlights with white gouache after the fact.
This was from a quick grab shot of an owner/guide of a golf cart tour we took around Southport, NC last July. He was quite a character and made the tour much more than just a history lesson. I'm very happy with the multitude of shadows and color shifts in this one. Some of those color shifts in his skin tone fought me at every step.
This is a commission I did back in December meant as a gift for my sister's boss. I was surprised at how quickly this one came together, somewhere around 6-7 hours.