finally finished this painting that I put on hold for few years. It only needed minor touch up, yet I waited three years to do it. This piece was difficult for me because the barista’s face was very small on the 18×24 canvas. I’ve ;earned a lesson to make piece larger when it involves much complexity.
I got bored and began adding a head onto this torso study. I thought just the torso by itself is kind of boring. Just a lay in start and did not get too far into it but i intend to carry it to a much more finished level. I wish I can say there is some kind of concept involved in this piece but there is none. I began this piece mainly in purpose for studying the torso, then built on from there, making it look like it is being built on a metal armature. I thought it could help showing analysis of the form by showing which direction and angle the metal is coming out of the cut limbs, and further inform the 3 dimensional depth of the form.Not too much going on with the pose but I am thinking of doing this in the future with more poses with some foreshortenings etc and cut into the figure more to show how metal wires are constructed inside. Furthermore I have decided to do some torso study drawings in different angles in the background, so it looks like a torso is being built from those reference drawings. I am not sure yet which dry media to use for the drawing part, as it would be on top of oil so charcoal may not adhere to it so well. I’ve thought of prismacolor, since it is made of wax, so it would go on top of oil fine, but I am concerned how archival it would be, as I know heat would melt the wax. I know there are oil sticks, so I’ve ordered some online today. But they seem very thick. I am not sure why they come very thick if it is meant to be drawn with. But I can maybe sharpen it if it is not too soft.. I will see how it goes when I receive it.
Some more progress with this piece. I’ve decided to title it ” My Roses by John William Waterhouse” because I am doing a master-copy of that painting as the bookcover image. I knew I would do a master-copy for the book-cover before starting this composition, but I was undecided on which one. John William Waterhouse has always been one of my favorite painters , I am happy to be doing a master copy of his work and hopefully learning much from this experience.
Since the last process blog, I’ve added the dried up roses, then some leaves scattered around the composition, then finally the bookcover image-master copy of My Roses.
I am still not finished with the master-copy. Much more refining to do on it.
I have started on this painting of Thomas a while back but posting some progress now. As usual I started with the head. I prefer to finish the head first before anything else because, the face is the focus of this painting. I have tried building everything up at the same time, but I have wasted a lot of time ending up with a failed piece, as no matter how well the body, and the rest of the areas are painted, if the face is not done well, I cannot use the painting. Only if I finish the head well, only then I proceed with the body, but If the head is failed, I can stop the project and start over without having wasted time working so much on other areas. Also, if the model cannot continue with further sittings for whatever reason, at least I can have the finished head study, whereas I could end up with just an overall unfinished piece if I had been working on all other areas at the same level.
I began blocking in the large shapes with a rather large brush, using burnt umber oil paint and titanium white. I draw with values rather than lines, so laying it in with paint with a large brush helps me achieve results faster and more accurately than I would with lines. I do not care for details at this point, but just laying in quickly the lights and darks.
I continued defining the face more and more to gradually smaller forms and details. I started using smaller and smaller brush as I went down further into details. I like to treat my painting as if I am sculpting with clay. First throwing on big globs of clay onto the head armature, then modeling and defining from there.
After I felt pretty comfortable and solid with the established monochrome head, I began applying the colors to start colorization. I used opaque oil paints instead of the common glazing techniques, but I used small brushes and worked bit by bit section by section to not lose the underpainting that I’ve spent much time on.
After I felt somewhat comfortable with the colored head, I started moving on to the figure. I started from neck down, and worked downward from the head, using mostly big brushes, masking in the values. I also started thikning of the overall composition at this point. This is a 30″x40″ canvas. I usually do not prefer to do any preliminary comp studies, but try to be spontaneous and figure out the composition as I progress.
Pic from the sitting.
To be continued..
Just wanted to share this very very old painting I just found in my computer storage. I don;t paint in this kind of style anymore. Not even sure if I can.
Claudia at Capriccio 24″x30″ oil on canvas
Today I painted in the eyeglasses to this still life painting. I initially was going to paint in the roses, but the more I observe, the more less appealing the roses seemed, as I was using artificial roses. I did not feel like going out to pick up real roses, so settled on the eyeglasses.
I started the lay-in using monochrome as usual, with burnt umber. Then colorized it afterwards.
Still can use bit more refinements but I’ll sleep on it for now. -HK Park
I got to work more on this still life painting today. I started painting in the colors, then poured some tea in the cup and painted that in as well.
I used mostly the small sable brush. Since I had the underpainting down pretty solidly from the previous session, things went pretty smoothly without much difficulties.
I think I am done with the teacup/saucer for now. Will paint the flower the next sitting.
Today I started a still life painting.
I began laying in the placement of the elements using burnt umber and number 4 filbert brush. I am using a canvas surface larger than I need, so I can crop the composition later on, instead of trying to compose within definite dimensions. I prefer to draw with values using broad strokes filling in the shades as I go, instead of drawing with lines. I decided to do a grisailles before moving on with colors as this is a safe approach-to establish solidly everything but colors, then colorize it afterwards. It would be much more difficult at this stage if I were to worry about colors too.. I started by defining the teacup and saucer only. I plan to finish each elements one by one instead of working everything in the painting as a whole.
To be continued..
I began this nude portrait of Rachel by blocking in the head first, using a lead holder with a HB lead, I used straight line block in to simplify and for accuracy. I also measured out halfway marks horizontal lines to ensure accuracy of the likeness via measurement.
I drew in the body block in, after I finished painting the head, then I began to paint in the body using oil paint from top to bottom.
I did not get to take process shots in between the last photo, but I basically continued in the same fashion, working from top to bottom, to the feet.After the body was done,I began doing the sofa and also indicated the background. I usually o not paint in the background but, I was finished with the body sooner than usual, so I had some time left over to do some extra work.