Sara Streeter Alla Prima

Sara Streeter Alla Prima

9" X 12"

Oil on Paper

2 Hr. from Life

2014

Figure Study 6-22-2015

Figure Study 6-22-2015

9" X 12"

Oil on Paper

2 Hr.

Figure Study 6-4-2015

Figure Study 6-4-2015

9" X 12"

Oil on Paper

2 Hr.

Figure Study 6-7-2015

Figure Study 6-7-2015

9" X 12"

Oil on Paper

3 Hr. from Life

Ingrid B.

Ingrid B.

9" X 12"

Oil on Paper

2.5 Hr.

2015

Figure Study (Alla Prima)

Figure Study (Alla Prima)

11" X 14"

Oil on Canvas

2 Hr.

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. 

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. 

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.

Gwyneth Seated in Monochrome

Gwyneth Seated in Monochrome

9" X 12"

Oil on Paper

2015

I painted this the other morning from life out in 29 Palms in a little under two hours. It was another trek for me across the mass of Southern California to a place I've never been. The workshop was held at a place called 29 Palms Creative Center & Gallery and the host, other artists, and model were more than pleasant company to keep. The drive there was amazing too. So many wildflowers in the desert. The most I've seen in quite a few years. 

Skull in Umber Monochrome (Sold)

Skull in Umber Monochrome (Sold)

9" X 12"

Oil on Paper

2014

I painted this 2 hour study from life using Raw Umber and Titanium White. Monochrome works like this are a great way to study value relationships, and the skeleton in particular presents an elaborate exercise along these lines due to the myriad of small changes in form.

Monochrome Female Head Study 02

Monochrome Female Head Study 02

12" X 16"

Oil on Paper

2014

This painting is another 2 hour study done on Canson Oil Paper. I've really come to enjoy working with it over the last year. Although at first it took some getting used to as it is a "thirsty" surface to work with. What is especially attractive is that there is a soft focus quality to the finished work that is quite unique. Although hard edges are easily defined as well.

The paint bleeds a bit into the tooth with fluid applications. So it can behave a bit like watercolor paper in that way. Although it takes opaque passages with no problem as well, which makes it quite versatile. It's very much like working with Gouache on Illustration Board, but better in that it offers the permanence and luster of working in Oil.

Skeleton Study in Green Monochrome

Skeleton Study in Green Monochrome

9" X 12"

Oil on Paper

2014

This is a 2 hour study of a full size skeleton that I purchased back in the 90s. I've returned to paint and draw from it on countless occasions. The human skeleton, along with other animals in nature, is a work of tremendous complexity and presents a unique challenge when used as subject material due to the innumerous small forms of detail throughout.

In using it as a subject over the years it really sinks in after awhile just how complicated the spine is in particular. It's like this giant tree trunk of electrical wiring running right down the body carrying out much of what the brain commands and each vertebrae is riddled with processes, ridges, and nodules. It's a bit counterintuitive given how simple the back appears from a surface anatomy perspective. In fact the back, especially the lower back on the male figure, is one of the most continuously homogenous shapes on the human form in general. It's really quite deceptive.