Working from photo’s

In the Atelier forum on facebook they have been talking about the pros and cons of working from life vs. photos. It is pretty much agreed that working from life is required for any serious student of art. However some were of the viewpoint that working from photo reference was somehow not as valid as work done in front of a live model or still life. Well, that is very easy to say for someone that has access to *space*. Models can be found, still lives set up… life is everywhere, just paint from it, right? Easier said than done when there is no space between your easel, the wall in front of it and the wall behind you. When I one day have the luxury to have a nice little set up to my right or left that is appropriately eye level then that day I will work from life every day, day in and day out and love the hell out of it. When I one day have the gift of being able to place a model a reasonable distance away from my easel so I might use sight size I will have a personal renaissance of drawing and painting only from the life. Until then I will take advantage of the models at school WHEN I can and I will paint and draw from *whatever* I need to so that I can continue to work at home and fill that crazy need within to just “do it”.

Absurd to think that somehow there is less validity in the work of an artist that has no access to the luxury of studio space. It is thoughts like that that create a subtle and specific kind of elitism that can divide even something as free as making art into the “have’s” and the “have not’s”

Speaking of photo’s… I have been working on a few pastels lately. I thought I would show the the steps so far of one work in progress. The still life comes from a larger still life I set up and took multiple photo’s of creating different individual still lifes. I spent some time drawing from the still life before I had to take it down due to above mentioned space issues. Now I am working primarily from memory and photo reference. It still has a long way to go – I’ll post it again when it is finished.

The Pitcher – Step 1

The Pitcher – Step 2

The Pitcher – Step 3

The Pitcher – Step 4

Done! Anchorage & Irene

I finally finished my pastel “Anchorage! You can see the progression in the below posts. It has come a long way, and it took me a long time to finish but I fell in love with the subject even more so than when I began. The light in Anchorage in the evening is the most amazing light I have ever seen. I have also finished a little drawing called “Irene”. I had some fun with this one adding abstractions and atmosphere to it. Now it’s time to start new work. that is always a little unnerving.

I am going to do a large drawing in the style of :Reverie” or another girl reading a book. I already prepared the drawing board and it is just waiting. It is going to be approx 18×24 in graphite, charcoal and Conte Noir. I am also starting two pastel still lives and an abstract snowy landscape of Anchorage again. And I am still working on my little grisaille still life. I want to start a new painting so bad I can taste it. In color even!  Anyway, here is “Anchorage” and “Irene” . I really hope you like them!

Latest WIP: Anchorage Out my Window

Here is the latest from my work in progress of Anchorage. In the post below you can see the progression. It has a ways to go before it is done. I am really struggling with the path and I have not evens really started on defining the tree sky edges but I am starting to see it really emerge. I am working so hard on my classical drawing and on my value paintings that it is refreshing to work in color on this one.

Anchorage – A new pastel in progress

For fun here is the start of a new pastel I am working on. The image is a view out my window of my little apartment when I lived in Anchorage. These are underpaintings. I usually use a very bight colors to lay out my compositions and establish color balance then work my way deeper and deeper into more realistic tones letting the colors shine through. This one will go through quite a bit of evolution before it is done and it will be weeks. I love pastel. I am working hard on classical drawing practice and painting oils in indirect grisaille, it is a rigorous discipline. The pastel gives me a chance to breath and work directly with color.  I think it is important as I learn the traditional methods to keep making pictures that are colorful and fun. One feeds the other and it is all a path to finding your own expression which emerges out of the sfumato of your efforts.

Reference

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Still life in Grisaille – Saturday, August 10

Today’s work on the grisaille still life. Tonight was really good good painting. My eyes were focused and were clearly sensing value, my hand was comfortable enough with the brush and I was able to escape my incessant self-editor. I made the write shadow-shapes instinctively and was able to figure out how to work with the brushes some. All good things. I worked on the right half of the cloth brought up the lights all over. This came as a most welcome treat because for the last week I have been wondering: a) will my eye ever work with what I see and the canvas and not just make stuff up and b) will this ever be fun again. Yes to both, a strong yes!

OPen grisaille starting on the cloth.

Umber underpainting with open grisaille on the right.

Re-Beginning Oil Painting — Yay!

Umber underpainting with open grisaille on the right.

I have decided to begin my oil painting re-introduction in Grisaille, or monochrome. I will be using a gray palette where I can focus on learning the feel of the paint in application and clearly communicate value. I am basically teaching myself painting using my drawing classes as a foundation and information I can find online from classical realists and different ateliers that openly share knowledge.

I applaud the ateliers that do this. They are making at least some portion of a classical education available to us who simply cannot afford the atelier classes. I know that without the critique of an experienced teacher it is an uphill battle with results that may never match those with a full house of classes and workshops but, what? Do I just not do it because I can’t pursue the curriculum full tilt boogie. Do I wallow in the discouragement or just get over it and paint. I seek to find the best sources of information and apply it to the best of my ability. I am very fortunate to be able to take figure drawing and classical drawing at the Neoteric Renaissance School of Art. Drawing is the backbone of my painting program. I have already seen a vast improvement in my painting from where I left off over ten years ago just through applying how I am starting to see and sticking with the spirit of classical art studies.

All that said I begin with two still lifes.

The first some eggs and the second some oranges. I will post some as I move forward in the work. Below are my under paintings and the “open grisaille” beginnings along with the reference material I am working from. I have no room in my very small apartment for a still life so I am relegated to working with photos of still lives I have put together. The drawings are done using a grid system and the techniques I am learning via the Bargue system of drawing. The under painting is a burnt umber. The grisaille palette is a value string made of a mixture of ivory black and burnt umber for the dark and titanium white for the light. I am using a nine value string. My lean medium for my open grisaille is turpenoid with a tad of liquin to assist drying time. My fat medium will have a little more of the liquin.
Other than that, in terms of application I feel like I am learning to drive for the first time and I am just a little out of control of the car.

July in the rear view mirror (almost)!

July has been a hard month over here. Aside from the very happy problems of getting used to a new work schedule at the NRSOA and developing my stamina for drawing three hours a day I have been beset by little things; the plumbing falters, the fan breaks, AC on the car on the blink, computer DIES, post dated checks are cashed early. You just duck and cover and wait for the next blow cause the hits just keep on coming. I thank the Great Spirit that it is not always that way. But because it is often that way I guess you just have to look at the good as hard as you tend to look at the bad. I am not a pie in the sky kinda person and in fact I struggle with severe depression which I have proudly spent the last seven years overcoming. I have learned this… that hope is real thing worth fighting for, that miracles happen all the time and that things could always, always be a whole hell of a lot worse. So I tend to look now at the good with the bad. It makes sense that doing this feels a whole lot better than dwelling on the bad all the time. Sometimes it comes down to a choice.

So I take a deep breath in and think about all that is good and the new beginnings in my life right now. The plumbing was fixed in a day, not a week. The computer was fixed the next day and under $50. I sold some books so had the money in the bank for the check and I now have a new fan. Most importantly today has been peaceful.

I did have a birthday this month in the middle of all the craziness. I spent it at a wonderful live Demo of sigh size sculpting by artist Jonathan Chorn and Lisa Silas, my love got me a cake just like I used to get as a kid and Lisa gave me some flowers.

I also made an important decision on Friday. I have been struggling with acrylics and then water soluble oils and have found no real solutions to the problem of replacing oil paints. I have not worked with oils for over seven years, since I moved into an apartment, due to the possibility of neighbors disliking the smell and the possibility of fumes interacting with the gas heater and going boom. Well I finally just had enough. I am going to paint with oils again.. period. I will use Turpenoid to avoid the smell problem and work small and with a fan to avoid going boom. My love, a number of artists and my landlord all thing this is a fine set up so I once again set upon the journey of painting with oils. I am going to keep doing pastels because they just come so naturally to me but I am going to focus my attention on oil painting. It goes without saying that I will continue my drawing discipline and studies. I can already see a huge improvement in my “seeing”.

So the bonus is that I had over $500 worth of artist grade oil paint and mediums in storage and canvases that were halted when I was forced to stop painting all those years ago. Even better, all the tubes opened up after over seven years of sitting in storage!

Finally, I in fact started two works in oils already. One is a simple egg study and the other a painting of a girl in front of a window. I already wiped out the girl a couple times. I am sooo rusty but having a great time!!!

August is going to be a terrific month!

Finished Two Studies Today

I called it done on two studies today. The first is my first ever pastel portrait. This is where the classical drawing will help A LOT. I can’t wait until I can draw a realistic looking face! I was interested in color matching my pastels in this one and also to do a flesh tone in pastel. I think the palette lacks subtlety because it was my first time. I got as far as I cared to go with the study, learned what I wanted from it and all in all I am happy with the result of the study.

The second is just a fun expressionistic study of some fire and ice roses on a bright Mexican blanket. I really wanted to have some fun with the colors in this one. Loosen up, see how much pastel I could push onto the paper and how the pastel acted at heavier applications. I achieved my goals and I think it is a alright in a quirky kinda way.

You have to do to learn and do lots. I have found it is good to have a goal in a piece. It gives you a signpost as to when to stop if the whole is not working. Not every piece is a work of art, but if you can learn something and better yet – know what you learned from each piece then it is a success. Both are 9″ x 12″ soft and hard pastel on hand prepared pumice paper.

On the Easel July 11

The biggest thing for me right now is going to drawing school and learning to draw the old school method. It will take a long time and change up everything. You can keep an eye on the whole “go backwards to move forwards” concept at the Atelier Student’s Blog which I just updated with today’s very humble marks. However, I can not just stop wanting make marks until I learn how to really draw so I have a few projects on the easel right now. The landscape is hard and soft a pastel on prepared pumice paper. The drawing is pencil from a photograph of a friends mother. The under painting here is the start of a re-do of a tiny acrylic I did a while back. I am using the water-soluable oils and am finding they do not perform as well for me on a smaller scale. I am not really sure where I am going with it, but I like the concept.

I know three things. 1) I am compelled to create  2) This is SUCH an exciting time to be learning and making art. 2) In the long run, my drawing study will make so much difference in what’s on my easel.

New Blog: An Atelier Student’s Journey

A lot of people have suggested I document my drawing instruction as it progresses… for this purpose I have created a blog to post work after each session and the revelations that go along with the work. We see and enjoy so much the work of realist artists living today. They all started somewhere and for some that somewhere may have looked a little like this. It is going to be a very long, very special journey.

On the easel today…

On the easel today — a painting of a woman with roses. The reference for this is a cemetery statue. It is a umber under-painting. The detail in the eyes and flesh will be worked in at the color phase.

I am using a new medium – water soluble oil paints. I just started experimenting with them last Wednesday. I like them very much more than the acrylics I have been fighting with for so long. They are buttery and work into a nice consistency or glaze when using the thinner and mediums made for it. They are not quite as nice as regular oils but it is real oil paint with a real oil paint feel. This makes me very, very happy and is a solution to a quandry I have had for a very long time. Next challenge – how to do multiple oil paintings in a tiny studio environment.

Also is a pastel I just started today of the redwoods in Henry Cowell park. This one has a long way to go too!

Bell, Book and Candle – Final Project Pastels – Done!

New drawings for my final project. Bell Book and Candle Series, Pastel on prepared paper. I like these though not as much as some others I have done recently. I was trying to use use the marks to give a subdued, realistic still life energy and atmosphere. There is a symbolic story to the series drawing from the literary and mystical traditions of the object relationships.

In Christopher Marlowe’s play Doctor Faustus, the lead character is subjected to excommunication using this process: “Bell, book, and candle; candle, book and bell, / Forward and backward, to curse Faustus to hell.” (Scene 7, lines 83-84).

My title piece, Bell, Book and Candle (the three items) is the final piece and represents the closure of the excommunication, a renunciation and the final end/death. Like the Death card in the Tarot – it has a reverse significance. In death is a new beginning.

Of course, the paintings have to communicate this in some way, and in that I was not as successful and I would have liked to have been. Pastel is a new medium for me and it was fun to work with, through trixtie. Lost control of it a little, also the series went a little darker in value than I intended when all was said and done. Loved doing the realism of the still life, I think I lost it a little in the marks. All in all tons of lesson! And fortunatly, there is always more art to make!

Bell Book and Candle 15″x22″ pastel on prepared paper

Book and Bell 15″x11″ pastel on prepared paper

Bell and Candle, 15″x11″ pastel on prepared paper

Book and Candle, 15″x11″ pastel on prepared paper