These two photos show what a difference lighting can make when taking pictures of drawings/paintings. The image above was taken with a Canon Rebel DLSR (a gift from my dad – thank you dad!) and the one below was taken with my MacBook. The bottom picture appears warmer making the paper appear slightly yellow and the pastel slightly redder. The upper picture appears cooler by comparison though the lighting is actually just neutral.
This was done last semester using a technique invented by Henri De Toulouse-Lautrec called painting with spirits or “peinture à l’essence” (don’t ask me to say it). It involves using oils on cardboard or paperboard as both a painting surface and palette. The board absorbs the oils and the paint dries fast so you have to work quickly. Because the paint dries so rapidly turpenoid (or odorless mineral spirits) is needed to add some moisture back into the paint.
As I mentioned in the previous post, earlier this month I went to a painting workshop given by Carol Marine. Aside from the awesome opportunity to learn from someone whose work I love, the main thing I wanted from the workshop was to start painting more loosely and boldly. This means changing how I see which involves a lot of squinting, filtering out of unnecessary details and trying to see bigger more abstract shapes.
Doing this means letting go. I mean this in a good way when I say one of the most important things I’ve learned at the workshop is to wipe the canvas when what’s on there isn’t working. I lost count of how many times I wiped this panel down.
Another important lesson I learned is that if I’m having to wipe the canvas down repeatedly then it’s time to do some smaller studies of the subject I’m trying to paint.
Carol noticed I was struggling and she painted the flower in the bottom right to show me how to break down what I’m seeing into value shapes. Then I started again. I almost wiped the top left, but since it was just a study I left it, which was just as liberating as wiping it was previously. And now I can see the progress I made from that to the other two I painted in the upper right and bottom left.
My apologies for neglecting my blog reading. I’ve been away for the summer visiting family back home in Oregon and Washington. I look forward to catching up with everyone soon.
Earlier this month I was lucky enough to attend a painting workshop run by one of my favorite artists Carol Marine.
Carol uses Ampersand Gessobord for her painting surface. I gave it a try and I like it much better than the canvas panel I was using before. So now I’m using some my old leftover canvas panels as slats for the wet canvas carrier that my uncle made for me.
For the workshop I needed something that I could carry panels of various sizes without breaking the bank. My uncle re-purposed an unused bookshelf that he picked up at a garage sale and created these nifty carriers. I slid some 9×12 canvas panels between them to act as shelves.
These work great and are able to hold anything 9 x 12 or smaller.I ended up using the top as a staging area for still life set ups. By stacking/unstacking them I was able to raise or lower my point of view.
They were great to have on hand and I’m sad to leave them behind in Oregon. Thank you Uncle Scott!
Tomorrow we get on a plane back to China!
This is an assignment from figure drawing last semester. I have a few more assignments I want to share, but I’m slow to post these because I’m still making adjustments based on feedback from my professors.
A couple weeks ago at Illustration Age I saw these free downloadable books by Andrew Loomis. I recognize some of his work from my courses. They’re a great resource so I thought I’d share. I had these printed at a local shop and might work through some of them on the plane ride home if it’s not too bumpy.