Nevaeh Lleh Alla Prima
16" X 20"
Oil on Canvas
6 Hr. from Life
Showing posts with label Oil. Show all posts
Showing posts with label Oil. Show all posts
Sunday, October 25, 2015
Saturday, August 15, 2015
Saturday, August 1, 2015
Tuesday, July 28, 2015
Friday, July 24, 2015
Tuesday, July 14, 2015
Sunday, June 21, 2015
Saturday, June 13, 2015
Tuesday, June 9, 2015
Wednesday, June 3, 2015
Saturday, May 30, 2015
Thursday, May 28, 2015
Tuesday, May 26, 2015
Catherine Seated (Alla Prima)
Catherine Seated (Alla Prima)
12" X 16"
Oil on Canvas
4 Hrs. from Life
2015
Wednesday, May 20, 2015
Wednesday, April 15, 2015
Herzog in Monochrome
Herzog in Monochrome
12" X 16"
Oil on Paper
2015
Another Werner Herzog study completed a couple of weeks ago. Herzog is a kind of enigmatic figure in the sense that many of his views and life choices are quite original. This makes him difficult to define in any kind of conventional way. On realizing this I decided that this work wasn't doing him complete justice. So ultimately this work is just a stepping stone to another attempt at representing him with convincing authenticity.
Thursday, April 9, 2015
Untitled #242
Untitled #242
9" X 12"
Oil on Paper
2014
I used some larger brushes in the hair for this 1.5 hour study. I always find it aesthetically attractive to use the largest possible brush to describe a form. There is a kind of simple beauty and elegance to a well placed and accurate brush stroke.
To break down the complexities of nature into simple statements and patterns is an attraction across many endeavors. From simple mathematical equations that describe the nearly infinite variability found in the Universe, to the age old wisdom of the Golden Rule; simple truths hardly ever lose their luster.
Wednesday, April 1, 2015
Monochrome Figure Study
Monochrome Figure Study
9" X 12"
Oil on Paper
2014
Working with a full figure composition on such a small scale can be a bit daunting as in this 2 Hr. study. It's almost more time consuming than working larger; which is a bit counter intuitive. The difficulty lies in the fact that very small nuances in how the strokes are arranged can make a big difference, so you have to work much more slowly and delicately.
Also, I tend to work with flat brushes with the paint laid down in single strokes, and at this scale it's very challenging to work this way. Which is why many small works are done with round brushes and not flats or brights. With rounds, very thin and wide strokes can be made with the same brush, but with flats or brights the smallest stroke possible is very much determined by the brush's width. Granted, it's possible to use the side of the brush for width variability with flats and brights. Although in my experience this tends to more quickly destroy the chisel edge and make the bristles blow out of shape.
Working with a full figure composition on such a small scale can be a bit daunting as in this 2 Hr. study. It's almost more time consuming than working larger; which is a bit counter intuitive. The difficulty lies in the fact that very small nuances in how the strokes are arranged can make a big difference, so you have to work much more slowly and delicately.
Also, I tend to work with flat brushes with the paint laid down in single strokes, and at this scale it's very challenging to work this way. Which is why many small works are done with round brushes and not flats or brights. With rounds, very thin and wide strokes can be made with the same brush, but with flats or brights the smallest stroke possible is very much determined by the brush's width. Granted, it's possible to use the side of the brush for width variability with flats and brights. Although in my experience this tends to more quickly destroy the chisel edge and make the bristles blow out of shape.
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