Untitled #212 (Sold)

Untitled #212 (Sold)

11" X 14"

Oil on Canvas

2014

I usually make some effort to soften more edges on my Alla Prima paintings, but I found this angle to be more befitting of a flatter approach. Profile views on figures have always struck me as the most graphic of angles. 

Obviously, this isn't an original insight as it has been a primary means of graphic figurative communication in art going all the way back to the Egyptians. Given this, this viewpoint and those close to it are typically the best suited for an angular definition of shape in portraiture. Even Picasso took advantage of this oftentimes:

Untitled #94

Untitled #94

24" X 36"

Charcoal on Paper

2013

Poses like this 40 min. standing arrangement are nice when the model has something to keep themselves steady with. Krissy, the model,  didn't take a break for the duration of the pose which always makes it more challenging to stay steady. She has a lot of experience though and she wisely added extra support by putting one leg on a stool.

Whenever confronted with a long pose where the model is standing you've got to anticipate more movement than usual as it's a lot more strenuous because they have to constantly stay on balance. So if one leg gets tired they will have to shift their weight to the other and in so doing will alter the angle on many forms slightly. For this reason I usually attempt to articulate the most difficult aspects of the figure first on standing poses. As the model is less fatigued at the start and will generally be more steady. The head especially moves a lot towards the end of long standing poses. Even with the best models.  

Untitled #64

Untitled #64

24" X 36"

Charcoal on Paper

2012

This 1.5 hour pose was a great set-up and is a good example of my working approach. I've squared off all of the forms on the figure to a somewhat extreme degree. The lighting was a bit tricky as it was behind the model so she was mostly in reflected light for my view. 

Although I believe it's important to accurately observe what is going on with the model, sometimes this can lead to a record in physical discomfort. Especially as you gain more empathy with models through experience. Granted it's difficult to judge, but I don't think most individuals would understand the kind of pain the model is feeling in the leg she is sitting on just by looking at the pose. 

The most common experience with the creation of visual imagery for people in the modern era is via photography. Snap it and you're done. This can really lead to a corrupt understanding of just what goes into making a work of art. Not only on the part of the artist, but all parties involved in the creation. 

Perhaps that is one of the greatest gifts of painful experiences, whether they be physical or otherwise - they provide a way of empathizing with others in a more meaningful way. When things are too easy or simple, you lose this reference frame, which robs you of deeper connections to the people and the world around you. No pain, no gain. Even for artists and models.

Untitled #58

Untitled #58

24" X 36"

Charcoal on Paper

2013

This 40 min. charcoal portrait was completed at the El Camino Community College Life Drawing Marathon in the L.A. area. These are held once a month. In one room there are short poses and in another there is one long pose all day. Some artists have been attending these for years and it's always a nice mix of students, professionals, hobbyists and newcomers. 

Untitled #153

Untitled #153

24" X 36"

Charcoal on Paper

2013

Angles like this can be a bit tricky as they are rather unconventional. Although they can often make for a more interesting composition. Of course it's difficult to make any serious composition plans when the pose is only 20 min. long as in this drawing. This is especially true when working at bigger scales like 24" X 36".  

I'm not a huge fan of 20 min. interval poses when working larger as most of the time is spent trying to get enough down so that you have something worthwhile for the effort. I find 25, 30, and 40 min. poses to be much more rewarding. Even when working smaller. Regardless of the pose length though, it's still a joyous experience to be working from life.

Untitled #48

Untitled #48

24" X 36"

Charcoal on Paper

2013

I used an atmospheric perspective approach on many of the forms in this 1½  hour pose from life. I've found it useful for conveying a sense of depth for poses that are very foreshortened. 

I've squared off many of the bony landmarks just under the skin as well as they were quite prominent on the model. Especially in the knees, and at the top of the humerus - or arm bone. The model's features were a good fit with my approach to simplification and exaggeration.

Untitled #202

Untitled #202

12" X 16"

Oil on Canvas

2013

Studio 117B in San Gabriel, CA. has workshops on Thursday evenings and Saturday afternoons that feature models in long poses. This portrait is from one of those sessions and was completed in nearly four hours.

Garrett; the facilitator of the studio - is a smart, generous, and all around great guy who has gone to considerable length in creating a wonderful studio set-up for visiting artists.

Untitled #126

Untitled #126

24" X 36"

Charcoal on Paper

2013

This 40 min. pose was drawn at Location 1980 in Orange County a few years ago. Working big like this can be a bit of a challenge sometimes, but it really gets the blood running as you have to use your whole arm to cover the ground of the paper. You really have to let go. 

For me at least - this helps me get into the "zone" as it seems to shut down the Prefrontal Cortex part of the brain that can be so stifling when working. When this part of the brain goes silent there is no future, there is no past, there is only the moment in front of you and it can be an amazing mental state to work in. Time ceases to exist.

Sara Streeter Portrait

Sara Streeter Portrait

14" X 18"

Oil on Canvas

2014

This portrait of Sara Streeter will be a part of a group gallery show on display at the Angels Gate Cultural Center February 8 - March 27, 2015. It was completed Alla-Prima from life in about 4 hours last fall. 

She modeled on her birthday, on a Saturday morning, and stood for a four hour pose. The woman is a pro.

Untitled #93

Untitled #93

22" X 30"

Charcoal on Paper

2013

In this 40 min. drawing I spent most of my time on attempting to capture the likeness of the model. I left the hair and many aspects of the drawing as mere suggestions. I do this often, and not just because of time constraints, but because I've been a fan of the vignetted composition going back to when I was a kid.

There were two kinds of portraits of George Washington hanging on many classroom walls when I was growing up. The finished version, and the unfinished version. I always found the unfinished version much more fascinating. The exposure of the process in a work of art just seems to affect the senses in a way that "finished" work does not. It's a bit like seeing the face in the vase optical illusion and perceptually going back and forth in your mind between the two objects. Somehow it's endlessly fascinating and gives a work a bit of an interactive element to it; because it requires perceptual participation on the part of the viewer to complete the visual sentences. 

Untitled #149

Untitled #149

24" X 36"

Charcoal on Paper

2013

This 60 min. back pose of Sara Streeter is a classic example of contrapposto. She was a professional dancer for quite some time and her ability to hold a pose like this is rather legendary. Most models do not stand for poses over an hour. This one was about two hours- with 25 min intervals (I drew this during two of those sessions). Although, I've seen her stand for four hour poses. 

Many new life models who are unaware of the challenges of posing at length will oftentimes attempt poses that are beyond their ability. This isn't the case with a seasoned model. Notice that straight line going from her left foot all the way up to the back of her head. This line acts as kind of a pillar that takes most of the weight of the pose. 

The contrapposto stance has been used in figurative sculpture for centuries for it's stability. The same sound principles of stable weight distribution goes for a multi-hour length pose as well. This model knows what she's doing.