Figure Study 6-7-2015

Figure Study 6-7-2015

9" X 12"

Oil on Paper

3 Hr. from Life

Danielle Seated

Danielle Seated

12" X 16"

Oil on Canvas

2014

This 3 Hr. life study was painted on an untoned canvas. Typically I enjoy working on a toned canvas while doing studies like this from life as they afford some forgiveness in terms of coverage. 

When working on such a stark surface you have to work a bit more diligently to make sure that the paint connects so that bright canvas gaps don't show up in-between strokes that have been laid down. To accommodate for this I usually load the brush full of paint while attempting to describe forms with as few strokes as possible. 

This approach to painting is called 'economy of means' by many, and more than a few of my favorite artists worked in this manner. There is kind of elegant simplicity to it when thing work out well.

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 #37

Untitled #37

24" X 36"

Pastel on Matboard

2013

This large pastel work from life was created with Pan Pastels. As I've mentioned in a previous post; they make it fairly simple to cover large areas of your working surface in a really short amount of time. So they make it possible to work much larger when working with a model. 

This pastel is also a good example of my working style. Especially in how the hair is handled. Due to the time constraints in working from life and the tendency of hair to be a complex juxtaposition of values and shapes - it is where a lot of artists develop their shorthand.  

Untitled #183

Untitled #183

12" X 16"

Oil on Canvas

2013

This painting from life was a 3 hour pose completed at a Catalyst workshop in Westminster, CA. The profile is typically thee most graphic of all portrait positions. It lends itself well to an angular way of working. 

The "knickerbocker" canvas manufactured by Fredrix is a good surface to work on in terms of it's ability to preserve sharp edges. Granted a lot of canvas surfaces do this well, but the thing I was most impressed with was that the paint sinks in just enough while working Alla-Prima so that you don't encounter any kind of significant "railing" on either side of a moderately loaded brush.