One model 4 poses

Earlier this year we started a series of painting where our model Katalin would strike multiple poses with the intention that they would go into one composition. Sound hard? You bet.

Painted in the colors I see. Neutral mixes of bi-colors to achieve chromatic greys This was quite an achievement for me in that I did this in 10 to 12 hours.

This is the finish.

Dance 30 x 40 oil on canvas 2019

Dance 30 x 40 oil on canvas 2019

Below is the sequence as it was composed and executed.This was painted over 5 weeks. Every Monday for three hour or about 2-2 1/2 hour of model time accounting for breaks. Painted under natural light that was constantly changes minute to minute week to week.

Jitterbug Straight Up

Sold! Purchased by a fellow art traveller. 8.6.19

Oil on Linen Panel 2019

This illustrative painting is the result of a series of doodles and sketches done over the past few years. This antique Jitterbug was purchased about 3 years ago with the intent to make a painting of it.

This is a rendering with a touch of expressive brush stroke.

The first Largemouth Bass I ever caught on a lure, maybe the first fish I ever caught on a lure, was with a Jitterbug on Angle Pond in Hempstead, New Hampshire. My cousin Raymond Sweetser taught me how to fish with lures and flies in the summer of 1960. I never thanked him enough for doing this.

This is the latest in a long series of fishing lures and flies I’ve made over the past 30 years. Pieces in watercolor, oils, and cg.

WIP from weekly life painting

The is a detail from the biggest painting I’ve ever attempted from a live model. 4’ x 3’. I think I got pretty far along in the about 7 hours over three weeks. It’s not done by any measure but a good solid base to finish from a photo. This is Katalin our new model. Again it’s color and value. She had a crown of flowers in her hair like it’s 1967. Far out great fun to paint.

Spring Maiden 4’ x 3’ oil on canvas 2019 WIP

Spring Maiden 4’ x 3’ oil on canvas 2019 WIP

Working with a different model

While Catherine is basking in the sun down in Florida we a painting away up here in the Upper Delaware Valley. Shoveling snow and sharpening Yak Tracks. But we have a fantastic new model . I’m starting with bigger canvases. This is 20 x 30 oil on canvas. It’s not quite finshed. The textural details are all that’s left

The piece bellow is a 30 x 40 piece. The biggest figure piece I’ve ever done. The figure is pretty much painted the ‘background’ need a lot of work. A great pose.

Working big like this is challenging for me. Managing the amount of paint on the palette is a real challenge. My structured palette helps but I really need to use a bigger palette

Untitled 30 x 40 oil on canvas WIP

Untitled 30 x 40 oil on canvas WIP

This months life drawing session

Some short poses from Tuesday nights session. 15, 10 and 5 minutes.

The element of time comes into play when drawing short poses. What do you do. How do you approach the paper. Try and express whole figure or just the essence. The sensitive placement of the hand. The elegant point of the toe or the rhythmic twist of the torso? Mostly there is little tome to choose. You make some quick measures and attack. First with the charcoal then with the chalks. No time to recheck proportions. Just trying to get the feelings.

It’s not hard when the model is a dancer, an artist.

Charcoal and chalks on Strathmore Toned Grey Paper

Charcoal and chalks on Strathmore Toned Grey Paper

Charcoal and chalks on Strathmore Toned Grey Paper

Charcoal and chalks on Strathmore Toned Grey Paper

Charcoal and chalks on Strathmore Toned Grey Paper

Charcoal and chalks on Strathmore Toned Grey Paper

A portrait swap!

This is a painting of Josh Bills. Part of a portrait swap we are doing on my artist forum. OpenStudio. Learning to Paint Realism with Oils

Josh Bill oil on linen panel 18 x 12 2018

Josh Bill oil on linen panel 18 x 12 2018

There are 4 pairs of painters. Each painting the other from photographs provided. There are to objectives in this challenge. First assuring that a good photograph is provided and understood. Second objective is managing value and color focusing on spectral color.

I added to my personal challenge by selecting Geneva Paint as my palette. Geneva is a more liquid self leveling paint with a slow drying formula, I started by mixing my 12 color pallet from Ultramarine Blue, Cad Yellow and Pyrrole Rubine. Then mixing set of tertiary semi-neutrals.

JoshesStudypalette111018.jpg

The painting got it’s start as a half size touch painting on paper. I worked out rough color, value and likeness. I tried to get a handle on the Geneva and groused a lot. The color is good but it hard to handle the paint with an expressive brush.

sketch 9 x 6 on Strathmore oil paper

sketch 9 x 6 on Strathmore oil paper


I made a outline “master” from the painted sketch. I projected to sketch to the final canvas. A panel I had made with Raphael linen on wood panel. I had to make a lot of corrections to the features. The Painting took over a week because off the slow dry characteristic of the Geneva paint. It would have been 3 or 4 days using Lukas paints.

It is still not finished. Some spots are still wet. Very wet. Need to do a little glazing. All in all I happy with the painting and the experience.

Palette at the end showing tertiary neutrals and mixes

Palette at the end showing tertiary neutrals and mixes

Waxing nostalgic

Cleaning out some draws to make room for stuff that I’ll clean out in a few years for more stuff. I found these. From my days on Beacon Hill at Kennedy Studios. Primo’s was around the corner. I did these and a lot more in trade for food. Yummy. I had a lot of fun those days. Too much fun if that’s possible. I was a cartoonists working in the alternative newspaper scene. Mostly for the Real Paper. Sometimes for the Boston Phoenix, the dark side.

Here is a Phoenix piece.