Session #048, Work #038

So tonight didn’t go so well. We had a release tonight and it was going bad, plus I started very late. I did manage to get some paint down on the canvas and I was very excited about my new lighting setup. But I had a huge issue with glare. I’m going to do some research on the web tonight to find out how I can paint without glare.

After doing some research tonight I looked at DrawMixPaint.com. This guy is Great! He has videos for everything. There is so much great advice here, its priceless.

Here is a Youtube vid on how to setup your studio without glare. http://www.youtube.com/watch?v=KMOSvmdFKY4

The Painting

31613
Here you can see the left side of the painting was knocked back with vertical brush stroke and the right side with horizontal brush strokes. You can see the massive amounts of glare on the right side due to the light directly above.

My Setup

31613-setup

My new lighting setup is pretty great. I have two lights with the exact same light bulbs. One is on the still life and one is on my painting and palette. Plus I have a gray shield up to block any light coming from my painting light. Now all I need to do is fix the glare.

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Session #047, Work #037

I changed the setup a bit today. I wanted to get the same light on my canvas as was on the still life. That didn’t work out too well, I ended up getting a lot of glare on my painting. That is why the photo is at such a weird angle.

31513

Overview

31513-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

31513-drawing

How can I improve the drawing

Lots of drawing issues here. I’m not sure which ones were caused by the weird camera angle to avoid glare. I know that the top of the hat was wrong, and the placement of the jewel on the bow was too low. Also the brim of the hat on the right is curving around and meeting with the hat in a very incorrect place, can’t believe I missed that.

 

Value

31513-value

How can I improve the values?

I’m happy with the values, the left side of the painting could be darker, but other than that I feel like I’m very close. As I type though, I see that the shoe laces are way too bright.

Photos I took of the painting to avoid the glare from the paint.

31513

 

 

31513b

 

 

 

Session #046, Work #036


The second life drawing studio with the same teacher. Good class even though the model had to cancel. we drew from skulls and skeletons then we paired up with other artists and drew each other. I got to draw Steve, he had all kinds of good features to draw, plus a hat, glasses and a mustache.

Anyway, I’m really tired, so I will end this now and go to sleep.

Overview

31413c

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

31413a

 

 

31413b

 

 

31413c

 

 

 

Session #045, Work #035


Today was the first day in over 5 years that I have drawn from a live model. I went to an open life drawing class held at A&C Supply in Seattle. We started out with very short poses, the instructor, Jamie Bollenback gave the model a letter and she had to interpret that letter with her body. The beginning poses were less than a minute and Jamie was trying to get all of the artists to get the entire model within each drawing.

This was very difficult for me. I had to work at a very fast pace, there was no way I could get the proportions correct and all the drawings were more symbolic than realistic. At some points I just tried to get the movement of the models body down in a gestural way, but that didn’t work most of the time. Needless to say the first very short poses were very frustrating.

Eventually the poses became longer, from two minutes to 5 minutes, I still felt rushed. And because of that my drawings were very inaccurate and unfocused. Eventually I had to give in and just accept that currently I couldn’t capture the model true to life in that short of a time span.

I began to think that maybe the most important thing to remember is that each mark must be absolutely important. That was one thing that Jamie said that made a lot of since, and I’ve heard it before by previous teachers. Don’t just play with marking on the surface, decide what you want to accomplish with the mark, see it happening, trace it in the air if you have to, but when you make it get it correct right out of the box. Most of the time speed comes with accuracy, not going fast. The greatest and fastest race car drivers are the ones that hit the accelerator and break at the perfect time, consistently.

Well we ended the class with a very long pose, I think it was a bit more than an hour long. This drawing turned out ok, I had to make adjustments for the models movements but during this drawing I think I was feeling how important it is to see each mark as important as the whole.

 

 

Drawings

31313a

 

 

31313b

 

 

31313c

 

 

31313d

 

 

 

Session #044, Work #034

I feel like this is the best painting that I have done so far. There are some issues but on the whole it is accurate and executed to the best of my current ability.
I’m happy to say that the last two paintings I have not used any mineral spirits at all. The previous few paintings I was getting a head ache from constantly cleaning my brush for each color change, even after I started keeping my spirits closed only until I needed to clean the brush. What I started doing was just lightly pinching the bristles between Viva paper towels a couple times and that removes about 95% of all the paint from the brush. The only time I encountered any contamination of color during change was when I was using Pthalo Blue for the handle of this coffee cup. Pthalo Blue is by far the strongest color I have ever encountered. It will take over any color pile with even the smallest amount. So, I’m very happy to have found a solution that will keep me away from brain damage, yay!

31213

Overview

31213-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

31213-drawing

How can I improve the drawing

Just some quick comparisons with the drawing. I was really way off with the placement of the letters on the t-shirt. Unfortunately those were totally an after thought, or maybe I was putting them off for so long that I lacked the energy to concentrate on them. Then the left side of the cup is a bit off also. I must say though, I don’t take any of these too seriously. I had to take the photo of the painting at a weird angle just to get rid of the glare from the black, so I’m sure that there is going to be some mismatching due to just the camera angle.

 

Value

31213-value

How can I improve the values?

I’m happy with the values here. The really white areas can not be achieved with paint, I don’t think pure white would even match the letters on the t-shirt. But the relative values for most of it is close. Again, their is going to be some things that are off due to the camera though, it is so hard to take a picture of black paint.

 

New Palette

31213-newPalette

This is my new awesome glass palette. I picked up a 12×16 piece of cheap somewhat thin glass at Lowes and a corrugated plastic sign. Because the glass was so thin I wanted something light but rigid enough to support it, first I was thinking thin wood, but then I would have to get it cut. The I thought cardboard, but just didn’t like the idea of it. Finally I found some sign kits at Lowes that were plastic but constructed exactly like cardboard, rigid yet light, perfect. So I cut the sign down to size and doubled it, then I cut a piece of Canson Artagan gray drawing paper eventually making a palette sandwich out of the materials. Glass, Artagan paper, then two pieces of sign board. All wrapped around the edges with masking tape, I didn’t have any duct tape, but I figured this would be just as good. The end product turns out to be very light and perfect for an almost vertical setup on my Julian easel.

 

 

 

Session #043, Work #034

Long day at work, and a late start on the painting tonight so I will keep this short.
Take your freaking time! Cause when you do, your paintings turn out 1 million times better. I’m so happy with my performance tonight. I took my time, I even set a timer and took a break every thirty minutes. I think the breaks were the most useful, it forced me to take my time, to setup away. I don’t know why I get in such a rush, I think its because of all the amazing artists I see and for some reason I put their speed of painting over everything. I forget that they have had years of steady slow painting that gave them that speed.
I also made an awesome glass palette tonight, holy cow the glass and the grey background I used makes mixing painting super fun, its almost heavenly.

31213

Overview

31213-setup
The setup. You can see my new palette in the picture also. Man I love this palette, I may take it with me when I paint landscapes, I don’t want to part with it, its my precious!

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

31213-drawing

How can I improve the drawing

I took my time with the drawing, and guess what, its almost perfect. I found the key, I just need to remember it.

 

Value

31213-value

How can I improve the values?

I’m a bit dark above the apple, and light to the left of the cup and apple. I will correct these with the continuation of this painting tomorrow.

 

Session #044, Work #034

Changing up the format today. After going to Daniel Smith art supply and buying some Fredrix canvas boards I learned that they suck without any Gesso applied. Not a big deal, I want this to be a longer painting so I’m just using this session as a study session for my t-shirt still life.

During this painting I did figure out what I wanted to focus on for my next paintings, Longevity and Drawing.  Of course I need to learn to draw better, that comes with time, but if I lack the ability to stick with a painting or drawing for more than an hour it is going to take forever to learn anything. I need to work on sticking with a drawing or painting for longer and longer sessions.

My process will be to time myself on how long I spend on an painting or drawing and try and beat that time next session. I also need to plan breaks in between, this may be the key to keep going for really long sessions. So tomorrow I will be really strict about timing myself and taking breaks. My goal will be 1.5 hours, and each painting after that I will increase the time by at least 5 minutes. So 6 painting from now I should be at 2 hours, 12 paintings 2.5 hours and so on. I may increase the time that I try to beat each painting by… On second thought I’m not going to set a time to beat it by, I will just try and beat my previous time, I’m sure that within 6 paintings I will be pushing 2.5 hours, then beating that time will be harder.

To sum up, here are my goals for the next n number of paintings and drawings.
Drawing focused and accurate.
Longevity and timing my sessions to beat my previous.

 

031013a
I took this pic after scrapping off most of the paint that is why it looks so horrible.

 

031013b

Overview

031013a-setup

 

031013b-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Comparison

031013b-comparison

Session #043, Work #033

I wasn’t happy with the drawing of the egg carton and how long it was taking so I decided to do a painting of it. This didn’t take near as long and I was a bit more dashing with the brush then usual.
For today’s paintings I started using a bristle brush to lay in the beginning drawing and initial values. I really like the feel of this, I wasn’t going easy on the bristle brush like my other monarch brushes due to their price and it was a nice an fluid way to start a painting. It seemed like a warm up or stretch you do before a focused workout. Getting the juices flowing before starting to get all serious.

030913c

Overview

030913c-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

030913c-drawing

How can I improve the drawing

This drawing was much better than the last. Although I know by looking at the inaccuracies as I go farther down that if I had done the entire carton the drawing of the bottom of the carton would have been pretty far off.

 

Value

030913c-value

How can I improve the values?

I moved my easel today for the plein air painting I did and now I’m getting glare on my paintings… this is super annoying, not only can I not take a good picture but, trying to paint through a glare sucks.

Anyway, the values here are a bit dark but after pulling the values down on the picture everything seemed to match up well. So that means I have a good grasp of all the relative values for this still life.

 

Session #043, Work #032

The egg carton I felt would lend itself well to graphite rather than paint, so I actually used my drawing board which usually serves as a backdrop for all my still life paintings.
I stopped after an hour on this drawing, I felt like the rest would be very repetitive and I wanted to mainly use this to see how well I would capture the major drawing with graphite instead of paint.

030913b

Overview

030913b-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

030913b-drawing

How can I improve the drawing

Wow, my drawing here is way off. I think I was so convinced that the repetition of the same distances for the top egg holes would be easily repeated going down that I barely even measured if that were true.

 

Value

030913b-value

How can I improve the values?

I’m happy with the value but I really think I want paper that is more smooth next time.

 

Session #043, Work #031

This is my first landscape in over 5 years. I had forgotten about all the possible distractions and especially the mass of leaves and trees that make it hard to determine any shapes at all.
I felt majorly rushed on this painting, I only spent an hour on it but by the time I was finished the shadows had move so far that I could only make up what I thought the values would look like. And because I was rushed the drawing and values are pretty far off.

030913a

Overview

030913a-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

030913a-drawing

How can I improve the drawing

I was so rushed on this painting I understand that the drawing is way off. I’m going to have to start painting landscapes earlier in the day when the sun is high and more stable.

 

Value

030913a-value

Session #042, Work #030

I’m pretty skeptical when it comes to drawing from Bargue as a exercise in learning how to draw better. So I had this idea to mix two dimensions with three dimensions. Drawing exact and perfect lines with a brush is very difficult. Right after starting this I learned my folly, but I persisted and I’m fairly happy with the outcome.
I missed the past two days paintings due to a business trip to Chicago, so this weekend I will be making up for them by doing three paintings tomorrow. I may even venture outside for a plein air painting for the first time in over 5 years!
I’m feel as though I need to assess my direction in art right now and focus a bit more. I still need to work on drawing, all the time and probably forever really, but I need to set down an exact direction that I will take to improve my skills. I’m still battling with using pencil and paper and my want to keep brush skills at their best. I may relent to graphite soon, at least for a while, or I may just have it handy for on the go art sketches.

30813

Overview

30813-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

30813-drawing 

How can I improve the drawing

Focus more, work on it longer.

Value

30813-value

How can I improve the values?

[acf field=”value_improve_text”]

Edges

[acf field=”edges_improve_text”]

Composition

[acf field=”composition_improve_text”]

Color

[acf field=”color_improve_text”]

Business Trip

Business trip to Chicago, no painting. I did a sketch but not pics or info… 🙁
I made up for the lack of art in the next few days by doing twice as much work.

Business Trip

Business trip to Chicago, no painting. I did a sketch but no pics or info… 🙁

Session #039, Work #029

The night before I leave for a two day business trip, my heart is not really into anything at the moment. I did the painting regardless, but I’m not saying much of anything about it. Its simple, I did it, the drawing is off cause I wasn’t super focused on it. I’m sure the value is a bit off, but I didn’t really analyze that either.
It is just important that I do a painting every day, or a drawing. At least 1 hour, I have to work as much as I can on seeing every day.
If there is one move I make every day I want to make sure that move is toward my goal.

30513

Overview

30513-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

30513-drawing

Value

30513-value

Session #038, Work #028

More fruit tonight. I’m painting simple shapes so I can work on my drawing without being overwhelmed by my subjects complexity. At some point soon I believe that I will be transitioning into pencil on paper instead of painting for a bit.
My main reason for drawing with a brush is so that I can work on my drawing while learning to handle a brush with great dexterity at the same time.

30413

Overview

30413-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

30413-drawing

How can I improve the drawing

Not too bad on the drawing. The issue is the large arc of the banana. It seems like one of the hardest things to draw is the long slow arc in space. The perfect drawing of this banana continues to elude me.

 

Value

30413-value

How can I improve the values?

Wow, that yellow was way off. And the green at the top of the banana was much too dark also. It seem as though the brighter the color the hardest it is to judge its value correctly. This yellow I put down was so far off that I thought that Photoshop was doing something weird with it. But after some testing I concluded that Photoshop wasn’t lying, it is really too dark. I even look at the picture and the painting now and it still looks light enough… this is going to be a tough one.

Session #037, Work #027

Up late after dinner out, yummy pizza, so I’m tired and I don’t feel like writing much. Easy painting, drawing was simple, I wasn’t being super focused, but the drawing still turned out well. I also did some color to value tests on this painting. If they are correct in value the brushes of color will disappear when I remove all the color from the painting, we shall see below.

30413

Overview

30413-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

30413-drawing

How can I improve the drawing

Meh… easy drawing just two circles really. I’m sure if I was really up to it tonight I could have gotten it much more accurate.

 

 

Value

30413-value

How can I improve the values?

I forced the values to be a bit darker here since the last painting was blown out and too close to white. I think I over compensated on the apple though, it is too dark.

I like that some of the color brushed tests disappear when I remove all the color. The red on the apple values are way off, they don’t match what they are painted on.

 

 

Session #036, Work #026

Home late after the Emerald City Comicon, so I will make this brief.

I reverted to easier subject matter, and I included value again, but not color. I’m also working a bit on edges. Still focusing mainly on drawing though. This entire painting felt good, I knew that I had made some drawing mistakes but became too lazy to change. I like that I knew how the drawing comparison would turn out before I even did the Photoshop comparison tonight though.

 

 

30213

Overview

30213-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

30213-drawing

How can I improve the drawing

I knew, before I even finished the painting that the apple was too high, I just didn’t want to change it.

I worked hard on the banana stem, so I”m glad that turned out accurate. The curve of the banana seemed much harder to get accurate than I thought. The subtle curve was so long that it was super difficult to measure correctly.

 

 

Value

30213-value

How can I improve the values?

It has been a bit since I did some focus on value. This one turned out pretty far off the mark. What I have noticed during my paintings is that I push the lighter colors too far most of the time. Things would work better if I painted everything just a bit darker than what I actually thought. That would allow me to have the very top most range of values open for highlights or punches.

 

 

Edges

I still need to get an edge comparison layout going in Photoshop, anyway, I felt pretty good with the edges although I have not analyzed my accuracy at all.

Session #035, Work #025

Tonight’s painting was a failure. I’m cutting out all the BS on this post and just focusing on why this painting failed, or why I feel it failed.

My original idea was to knock down the drawing a bit that I had been working on for several sessions and then paint over top and try and render the still life accurately with  correct value and colors.  Before I started I was excited, I felt that it would be easy, I didn’t have to worry about the drawing that much at all, just get the values and color correct and I would have a great painting… it didn’t work out that way.

From the beginning I felt like I was being stagnated, it was like painting by numbers I guess. Have to stay within the lines, I felt urges to pick up a larger brush and just let it fly. Not too crazy of course but, at least some freedom. But I didn’t, I even pulled out a smaller brush and began doing details with it.

Even then I should have had  a well rendered painting right? No, for some reason I felt lost from the very beginning. I felt like I was always guessing, is this the right value, and second guessing. After about 35 minutes into the painting I was hating how the whole process felt and was wanting to quit. I pressed on though, in hopes that it would get better. It did not.

I had lost focus somewhere, I wasn’t calm, but agitated. It seemed like every stroke I laid down was wrong in some way, either drawing, value, color or edges. Plus I was hindered by all the lines and in some instances had to force myself just go over them.

I still can’t place exactly what went wrong. I think it was a combination of a very dark background making it hard to judge values and my overwhelming urge not to mess up the drawing underneath that was stifling any painterly spirit.

For the next few paintings I will be sticking to simple shape still lives. I will work to get the drawing perfect then I will obliterate it during the same session with correct color and value, making a point to not pay attention to the lines too much. I keep looking over at our basket of fruit and thinking that apples, oranges and bananas would be great. It would feel like freedom.

 

 

30113

Overview

30113-setup

Session #034, Work #025

More drawing today and I did some gesso tests with some inconclusive results. Not much to say about this painting now, this is my third session with it. The sessions are short, although I have a tendency to feel bad that the painting is taking very long. Which is pretty interesting, when you compare those feelings to all other master artists. Their paintings take a huge amount of time to complete. I’m thinking that my earlier training in Florida has conditioned me to think that speed is paramount. This is simply not true. Especially since I’m just learning again and trying to get skills better. Like Richard Schmid says “Take your time, speed will come with experience”

22813

Overview

22813-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

22813-drawing 

How can I improve the drawing

Drawing is good, I need to fix the bottom right of the base that is way off.

 

 

 

Canvas Gesso Tests

22813-canvas-gesso-3
3 coats of gesso
22813-canvas-gesso-2
2 coats of gesso
22813-canvas-gesso-1
1 coat of gesso
22813-canvas-gesso-0
0 coats of gesso

I did four envelope starts tonight. Mainly to test out if the different coats of gesso would make a difference when painting, but I found the quickness of the envelope and its freedom liberating. I should test the accuracy on these before I continue.

As far as the gesso is concerned I couldn’t tell a difference between each canvas although I made only a few strokes on each canvas. I wonder if I will ever see a difference between the coats when I work further into each canvas?

 

 

Session #033, Work #025

Tonight, more drawing, and a Gesso test. I broke the drawing session today into two parts, and took a small break in between. When I returned to the drawing my focus was still intense and accurate. I’m going to try and take a break every 30 minutes from now on. Hopefully break will lead to longevity.  Tonight there were too many distractions and I couldn’t get in more than an hour of drawing.
22713a
Before break drawing

 

 

22713b
Continued drawing after break.

Overview

22713-setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

22713-drawing

How can I improve the drawing

I’m extremely happy with the drawing so far. I improved the drawing further from the last session and I didn’t even use the previous comparison to guide my changes. The top of the mushroom was drawn on pure measurement and its accuracy is almost perfect!

I really need to work on the face though, it needs help. The brush strokes are so tiny here that my hand needs to be absolutely steady in order not to make a mistake.

 

 

Canvas Gesso Test

4 canvases each with a number of coats of Gesso, and stained with burnt umber. To test which one I like best
4 canvases each with a number of coats of Gesso, and stained with burnt umber. To test which one I like best

Gesso test

So, I have several canvas boards and I’m not very happy with their painting surface, so I wanted to try some gesso and different number of coats to see what I like best. At some point I’m going to find some triple primed oil canvas boards and try those expensive things out, but until then I’m going with the budget solution.

First off, the gesso was sanded a bit with 220 grit sand paper just to make the surface a bit smoother. The surface of gesso reminds me of chalk, it seems like it would soak up a bunch of paint so I applied my usual ground.

Now, for this initial stage of the boards I will say that I like the plain Blick canvas board without any extra gesso applied. Its smooth after being sanded but not too chalky and the color applied to the canvas is much more even without the gesso brush strokes showing. I guess I could have used a non bristle brush to apply the gesso so that there was less brush strokes. I will try that only if the extra coats of gesso turns out to be promising.

Beyond that, I really don’t see that much difference between 0 to 3 coats of gesso. The true test is going to be when I start drawing on these. I will have to set them up all on the same day and start an envelope so I can get a direct comparison.

 

Session #032, Work #025

So it looks like 1.5 hours is my limit for drawing currently. That is a very small span of time. I need to work on drawing longevity or consciously take more breaks so I can last longer. It’s almost like standing at attention for over an hour. For this drawing I was very focused also, so I’m guessing the focus took a lot of energy.

I’m really happy about my focus though, I can see much more now then when I started over a month ago. I feel like my focus and these blog post analyzing the painting and drawing are speeding up my learning tremendously.

Tomorrow when I continue I will try for drawing perfection. I’m thinking also that I should actually take this painting all the way to the end, maybe three more sessions. One more drawing session, one value session and a color session.

 


22613

Overview

22613-setup

 

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

22613-drawing

How can I improve the drawing

The drawing doesn’t look great, but the contour is very accurate. Except for the base which I kinda threw in real quick before stopping. I’m going to try and not use my Photoshop comparison to finish the drawing, I feel like using this too much could be a crutch.

 

 

Session #031, Work #024

Today I wanted to try out a change in my canvas surface because I felt that the last painting’s surface was very dry and scratchy, but I didn’t have any Gesso for the canvas board and I didn’t want to wait six months for an oil prime to dry, so I just used some red acrylic paint that I had. UGH!!! I will be getting some Gesso after I throw this canvas out, it is way too slick and the color is killing me.

Well, I drew for 1 hour and 15 minutes today and marked out everything. The problem is that I didn’t get the major shapes down before I started in on the details and I was really hurting for it. In most cases I couldn’t even see the bigger shapes. Below I did some Photoshop work to help me with that.

 

22513a
My first attempt tonight before wiping it out.

22513b
second attempt at drawing tonight, I wiped this one out right after taking the photo.

Overview

22513b-setup
the setup

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

22513b-drawing
Drawing comparison of the second attempt
finding the major shapes on the figure.
finding the major shapes on the figure.

How can I improve the drawing

I was actually closer on the drawing then I thought, o well, its gone now. Doesn’t really bother me, I want it perfect, and repetition is the best way.

 

Session #030, Work #022

22413

Overview

The setup
The setup

Thirty days of painting and I have seen a lot of improvement, but I still have a long way to go before I reach my goal.

This was the second part of this painting and by being very patient and taking my time it turned out very well. I have an understanding now that drawing a subject for a huge amount of time is normal and not out of the ordinary at all.

 

My hierarchy of painting importance

  1. Drawing
  2. Value
  3. Edges
  4. Composition
  5. Color

Drawing

Drawing comparison
Drawing comparison

How can I improve the drawing

For now I will take the time necessary to get it correct. With experience speed will come.

 

Value

Value comparison
Value comparison

How can I improve the values?

No comments.

William Wendt

William Wendt (1865-1946) was an American landscape painter. He was called the “Dean of Southern California landscape painters.” Wendt was a founding member of the California Art Club, along with his wife Julia Bracken Wendt, and served as its president for six years. Wendt built his studio in Laguna Beach, California. A Laguna street, Wendt Terrace, bears his name.

 

Wendt_William_There_is_no_Solitude_in_Nature_6

 

 

wendt-wherenaturesgodhathwrought575

 

 

william-wendt-distant-fields-california-impressionists

 

 

1cm182

 

 

77614-Higher_Altitudes_Wendt

 

 

display_image

 

 

picture

 

 

tumblr_m5awjeSTSY1qly7zyo1_1280

 

 

view-to-mt-baldy-william-wendt

 

 

 

Session #024, Work #021

Still working on drawing only. I finished the drawing from yesterday and I’m not sure how happy I am with my accuracy. I also started another drawing of a more detailed statue. I like the fairy figure a lot, but it looks to be a tough drawing. It’s going to take a lot of focus to get it right. I’m contemplating getting the major envelope down then taking photos, doing a comparison, and if it is too inaccurate starting over, then repeating till I get it correct.

Bandera Mountain Hike

Wonderful hike today. One hour from Seattle off of I-90 exit 45 is Bandera Mountain. The drive to the mountain was interesting, it looked like all the mountains had been sifted with powdered sugar, with a definite line where the melting point started on the mountain.

Jeremy Lipking

Jeremy Lipking b. 1975

In a remarkably short period of time, Jeremy Lipking has emerged as one of the country’s premier realist artists. His talent, which rivals that of the late nineteenth century painterly realists such as John Singer Sargent, Joaquin Sorolla and Anders Zorn, is outstanding for a painter of any age. It is all the more remarkable since he is only thirty years old. Like these great painters of the past, Lipking is a virtuoso artist. His canvases convey the magical aura of convincing imagery emerging out of a field of paint.

Session #022, Work #020

Like I said last painting, I’m going to do nothing but draw for the next few painting. This one was awful again. I really have a lot of drawing issues to overcome. What you will see below is a series of pictures throughout the drawing process compared to the original. See the captions for each photo.

John White Alexander

John White Alexander (7 October 1856 – 31 May 1915) was an American portrait, figure, and decorative painter and illustrator.

Alexander was born in Allegheny, Pennsylvania, now a part of Pittsburgh, Pennsylvania. Orphaned in infancy, he was reared by his grandparents and at the age of 12 became a telegraph boy in Pittsburgh. His talent at drawing attracted the attention of one of his employers, who assisted him to develop them. He moved to New York at the age of eighteen and worked in an office at Harper’s Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators labored there. After an apprenticeship of three years, he travelled to Munich for his first formal training. Owing to the lack of funds, he removed to the village of Polling, Bavaria, and worked with Frank Duveneck. They travelled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, the Netherlands, and Paris.

Jeremy Mann

Jeremy Mann(b. 1979) graduated from Ohio University with a Cum Laude degree in Fine Art-Painting. Afterward, he ventured out to California where he earned his MasterÕs Degree with Valedictorian honors at the Academy of Art University in San Francisco. Since then, Mann has garnered substantial attention in the art world. Praised by critics and collectors alike, his work recently graced the cover of American Art Collector magazine.

Jack Vettriano

Born in Fife, Scotland in 1951, Jack Vettriano left school at sixteen to become a mining engineer. For his twenty-first birthday, a girlfriend gave him a set of watercolour paints and, from then on, he spent much of his spare time teaching himself to paint.

Frank W. Benson

Frank Weston Benson, frequently referred to as Frank W. Benson, (March 24, 1862 – November 15, 1951) was an American artist from Salem, Massachusetts known for his Realistic portraits,American Impressionist paintings, watercolors and etchings. He began his career painting portraits of distinguished families and murals for the Library of Congress. Some of his best known paintings (Eleanor, Museum of Fine Arts, Boston; Summer, Rhode Island School of Design Museum) depict his daughters outdoors at Benson’s summer home, Wooster Farm, on the island of North Haven, Maine. He also produced numerous oil, wash and watercolor paintings and etchings of wildfowl and landscapes.

Joaquín Sorolla

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Valencian Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Hike 2/03/13

Today’s hike was on three of the Cougar Mountain trails. Wilderness Creek, Wilderness Peak and Wilderness cliffs. Great hike, very refreshing and recharging. Couple quotes from Alan Watts that stuck out today.