Friday, August 08, 2014

Paint it Black


Using the black canvas sheets today to sketch ideas for the paintings I want to do that were inspired by Shannon Godby's photographs on Facebook.

Today I realized I actually needed a wide range of dark paints (Mars Black, Ivory Black) to paint back into the canvas as I worked my lights and darks. A good find!

So I went back to my sketch of "Christmas Eve at the Warren's" and tried to apply what I learned. Here's what it looked like before I started; when I started looking at it, I realized if there's that much snow on the ground, there'd likely be some on the roof.



Thought I was done but now I want to play with the sky behind the house a bit more. It's too light and I need to work that section in the upper right quadrant to bring it in line with the rest of the painting. Fun exploring this way of painting onto black canvas, though. And Christmas in August is kind of fun too.






Friday, August 01, 2014

Nobody Paints Like Him

Painting today was mostly like praying. I saw this leaf in the parking lot the other day and just marveled at the mixture of colors in it. Also, since today is August 1, noticed it's a harbinger of autumn soon to come.

Inspiration always comes from looking at what the greatest Artist of all creates every day. But this was especially fun because of all the organic lines and shapes ... much different from the straight lines and angles of my usual architectural subjects.

Tuesday, July 22, 2014

Watercolor vs Acrylics




Enjoyed working on this small watercolor portrait, because this media is even more transparent, and requires more layers, than the acrylic paints I've been working with.

People who want home portraits tell me whether they'd like them painted in oils, acrylics or watercolors. I start many of my oil paintings with acrylics, because oils can go over the top and the acrylics dry faster, which makes it easier to get the initial drawing, composition and values (lights and darks) down on the canvas quickly.

Once upon a time, I preferred painting in oils. I liked mixing the colors I wanted on the palette with wet paint and the opacity of it. But when I started laying in my compositions with acrylics, I started to appreciate their transparency and the ability to build and mix color through layering like you do with watercolors. My mentor describes painting with watercolor like laying down layer after layer of transparent color film -- we build value and hue by painting an area over and over again, overlaying paint layer after paint layer. If it's the same hue, the color gets stronger. If it's a complementary hue, the color gets duller and grayer.   And if it's blue over yellow, my eye sees the green that results.

I haven't painted in pure watercolors for a few months, so I enjoyed its increased transparency compared to acrylics. For a painting like this, I have to draw on the paper first, so I know in advance where all the paint should go, kind of like paint by number.

I think this is why I prefer acrylics: I feel more free to experiment with paint on the fly, knowing it is opaque enough that I can cover it up and rework it if I change my mind.

But in this case, I realized I've gotten lazy by being able to make the darks as dark as I want right away with acrylics, rather than having to build them up gradually over the course of several sessions, like I did with this watercolor. I attached three photos here to show that progression from when I started to the finished piece.

Tuesday, July 08, 2014

A first today


Today is the first time I think I've ever started painting on a black canvas. It's interesting! I seldom use black paint -- I like to mix dark colors by combining complementaries like red and green, orange and blue or purple and yellow.


Also I think black paint and white paint appear sort of "dead" and lifeless in a finished work. But I bought a tablet of black canvas sheets to experiment with some night scenes I've been wanting to paint for a long time. This is one of them: Cincinnatian's may recognize our "Elsinore Castle" at the base of Mt. Adams on Gilbert. I love to see it lit up at night and will have to research more about its name and how people used to play Hamlet on it when it was the gateway to Eden Park.

I often talk about how one hour can yield very different results for me day to day. I was having fun with this -- looking at the shapes and values and then placing them on that stark black canvas. It's got promise! Stay tuned for the finish, some time in the future.

Tuesday, June 24, 2014

Learning from the Sketch

I like to draw a house before I paint it, to get familiar with its lines. When I get just one photo to paint from, as I did here, I just go ahead and sketch in acrylic paint. Then I can learn what I want to do about color and value, as well as the lines. I did my first sketch for this painting on a green background, laying in the lighter and darker values over the middle tone.

  The color scheme pleased me but when I looked at this, I saw that the right roof peak was way too high -- it should be at about the same height as the far left peak.

And that meant that whole right side was too large. One of the things I love about drawing with acrylic paint is that it doesn't take nearly as long to dry as oils. So my next step was to begin correcting that right side, as you see here.

Now if I were sketching for a larger painting, I'd probably be satisfied with the corrected sketch. Then I'd use it as my primary reference for the painting, along with the original photo I was given.

In this case, once I had a good sketch, I kept on painting. Because this customer purchased a portrait the size I usually sketch, which fits nicely into a ready made 11 x 14" frame with a matte and glass.





So here it is as finished this morning. Digital photography is great, especially with a SmartPhone. You always have your camera handy (mine's on a holster on my hip!) And I can print out any of these versions to learn or compare. In fact, if the customer likes an earlier version better, we could actually print it out to canvas, varnish it, and this giclee (French word for airbrush) could be framed just like an original painting.


Thursday, May 29, 2014

Final Friday May 30 (tonight)




Yes, it's Final Friday at the Pendleton Art Center in downtown Cincinnati from 6-10 pm on May 30, 2014 at 1310 Pendleton Street 45202. $5 valet parking at the front door. Music outside on the loading dock. Art by hundreds of artists in their working studios with complementary food and drinks as you browse or buy. I'm on the fifth floor #507 with ceramicist Glenda Suttman and fused glass artist Margi Meier of Celsius 800. We'd love to welcome you!

Juvenile Diabetes Research Foundation will also have wine at a table on the lst floor by the elevator; baked goods for sale on 3rd floor and 7th floor; and warm smiles to greet you with wine and beer and a donation. Learn more about them at http://jdrf.org/about-jdrf/

Here's an 11 x 14" portrait I recently completed for a local client. Have your home, business, boat, wedding venue, vacation cottage or other happy place painted.

Friday, May 23, 2014

Tonight at the Pendleton Art Center





Here's the home portrait I'll probably be working on tonight in my studio on the fifth floor (#507) of the Pendleton Art Center. Come by and see me from 7-9 pm if you're in the downtown Cincinnati area, near Horseshoe Casino.


Artist Julie Uehlin Clement returns to her Cincinnati roots, paired with award-winning photographer the late Tom McFarlane, in Kay Hurley's studio on the seventh floor.
Tom influenced Julie significantly as a pointillist and photographer. As co-owner of Directions Marketing, Tom hired Julie as a graphic designer where she honed her pointillist skills. After setting her sights on Colorado, she moved on, but they remained friends.
For many years, Tom immersed himself in his business and in the late 90’s, he returned to his passion – black-and-white photography. About the same time, Julie began painting in her signature dot-style.
After Tom’s passing in 2008, his wife Ona commissioned Julie to paint aquatic life from her new beach home in Oregon. Serendipitously, last October, Julie and Ona collaborated on Point In All Directions, an exhibition featuring Tom’s large-scale prints and Julie’s colorful dot paintings. Seemingly, a blessing from Tom…
When Tom was a resident artist at the Pendleton, his photographs always inspired me too. To honor his memory and support Kay Hurley, who I admire very much, I'm coming down to the studio tonight to work and attend the grand opening of this exhibit.
Finished another portrait yesterday but it is a surprise gift so I don't want to post it here until I know it's been received. Have a wonderful Memorial Day weekend!