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. 

Monochrome Female Head Study

Monochrome Female Head Study 01

9" X 12"

Oil on Paper

2014

I've just opened up a Gallery on DailyPaintWorks.com* and this is the first painting I've posted there. It's a 2 hour study completed last year as part of a daily painting exercise and I'll be posting more work over the coming year or so.

I'm not currently represented in the "Gallery World" as I've been working full-time commercially for over the last 15 years very much under the radar. I made my first portfolio website back in the late 90s and took it down in late 2003. So I've been missing in action in a public way for quite some time. I haven't even really been on social media at all either. I started a Facebook page some years ago but that was mainly just to do research for a commercial project. I've really had my nose to the grindstone for a long time without taking much time to look around or self promote my work. So I imagine some visitors have come here and said to themselves, 'Who is this guy?'. For those that have I've added a bit more biographical info* at my DailyPaintWorks gallery.

*My online Gallery is currently closed to further purchases as of April 2015. Although I may reopen it at some point in the future.

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.