Daily Charcoal Figure Study

Daily Figure Study

24" X 36"

Charcoal on Paper

2015

This is a 20 min. daily figure study from this morning. Quick, fun, and straightforward. For some reason I always feel the need to include the ground plane in some form when displaying the full figure. Here it's just an uncomplicated straight line on the left. 

One thing I love about these quick studies is that even though they are short in terms of the time spent in completing them; there is a good solid two and a half decades worth of study and effort behind every decision. Even the mistakes. 

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. 

Charcoal Figure Study

Charcoal Figure Study

24" X 36"

Charcoal on Paper

2015

This 15 min. sketch is part of a daily routine I have for drawing the figure at least once a day. These can sometimes be the most enjoyable thing I do all day as there are no stakes involved. It's a great way to experiment and create something just for the joy of it. 

Werner Herzog Sketch

Werner Herzog Sketch

24" X 36"

Charcoal on Paper

2015

I sketched this 40 min. portrait as part of a study for a planned painting of Werner Herzog. He is a truly remarkable director and individual, and he makes for a great subject. There is a kind of depth to his gaze which is difficult to deny. His visage seems well suited to be carved into a mountainside at a scale beyond heroic.

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.

Untitled #291

Untitled #291

24" X 36"

Charcoal on Paper

2014

I drew the model Val Benavides' head in this 20 min. life drawing way over size. Typically I like to draw the model's head at life size when drawing or painting a portrait. Although, sometimes it's just plain fun to draw something huge and ambitious within a short amount of time. You really just kind of have to let go. No underdrawing, no planning, just put it down. Almost every passage in this drawing is comprised of minimal definition as there was no time to belabor anything.

Untitled #246

Untitled #246

24" X 36"

Charcoal on Paper

2014

This was a 40 minute pose from life at a nearby workshop in Palm Desert, CA. I'm often drawn to working more in line than masses when it comes to using charcoal as a medium. The dark broad lines are a breeze to execute with the side of a well formed edge. Also, there is a primitive beauty to working with a simple piece of charred wood. It feels timeless really, as it has been a tool of choice in art for literally thousands of years.