Using a grid to approach color

Here's a project from the advanced color "theory" class (it's really more about color practice at this point). We are using a grid to break an image down so we can approach it square by square, color by color, without getting distracted by the objects in the picture.



First step is to choose a small image and grid it into no more than 10x12. Draw a corresponding grid of one-inch squares on a painting support (I am using large color swatches from Yolo Colorhouse that I picked up at Scrap).


Fill in the squares. If there's a lot happening, make a mix that averages the contents of the square. Some squares, not too many, can be broken down using a straight line.


This one is almost all filled in. I'm leaving it like this.
I made a second example and took it one step further:








All squares blocked in.


Some scraping is necessary so I can change and add color that I left out on the first pass. It's good practice to leave things out. A common beginner error is to want to put in every single visible thing. Editing lets the viewer's brain have more fun seeing more than what's there.


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Green the buffet!

As part of the redecorating of Verde Cocina's upstairs dining room, I painted the buffet. It was dark gray against a dark brown wall--not a stunning combination.


Before....
And after:






Here also is a little painting that will eventually hang over it with a lot of other cool stuff (and yes I stole from Mr. Cornwell--and didn't improve on his work, either!)

Improving an old painting

Shaffer Gallery invited me to come and be the artist at Saturday Art Live a couple of weeks ago. (I'll be doing it again on Dec. 22.) There was live music and refreshments and friendly people...rather an improvement on working alone! I took an old still-life painting that had some nice things going on but wasn't working overall. Took out the pitcher and put in a vase. Better I think...

Hood River Paint-Out

Hood River Sunshine. 12x16.  My first painting of the weekend.

Mt. Hood and Summer Blooms. 8x10. I decided to try it again, since the day had progressed and the light had flattened out.

Old Trailer and Barns, 8x10

Mt. Hood and Valley at Dusk. 8x10. The sign on the gate at Panorama Point says it closes at dusk, but lucky for me nobody locked the gate. I got to watch the sunset over the whole world.

Sakura Ridge Pears. 6x6. SOLD We painted at this lovely farm on a south-facing slope.

Truck and Chickens at Sakura Ridge. 5x7 SOLD

Pear Orchard & Mt. Hood. 12x16

Columbia River Gorge, Morning. 8x10. This was on the fourth day.

Backlit Aspens. 12x16. Day two at the Mills place.Such a beautiful piece of land, it was not hard to find something to paint.

Some of these paintings are on display and for sale at Columbia Center for the Arts in Hood River through September. I have the others--contact me if you're interested.

A week in Bend

Five days in a painting workshop reminded me how much I love being a student--particularly an art student, and especially when the teacher is someone whose message and approach resonate for me.




The last day and a half we had this gorgeous model set up with peonies and a black fan. Here's my study. It's 20x16.

Here are some of my notes:
When drawing, think about form, not line.
Whatever drawing skills you have WILL inform your painting, so go ahead and paint.
How you hold your brush can help you think like a painter.
Don't get attached; don't be fearful.
Paint your idea; don't try to match or copy everything you see.
Don't think while you're painting. Analyze later.

And one other thing I really liked: if you don't know what to do, stop.



The beginning of a still life.

Who's using acrylics?

I've given my students an assigmnent to copy a portrait. The original painting has to be in the same medium the student is using, and those working in acrylic are finding that oil portraits are much more easily found than those done in acrylic.

Let's see if we can find some talented/trained artists/illustrators who are using acrylic to paint portraits or faces. Comments welcome! Here's what I've found.

First a few of mine. These are all pretty quick demos and studies.

Jamesha

blue hair

James with squirrel

Sophie

Brooke

James

Orange

1. Satchel Paige by John Thompson. Beaut. In the Society of Illustrators 43rd annual this illustration's medium is listed as acrylic. I've left a message for JT asking about the other portraits on this page.
5/15 Update: He has another website, http://www.johnthompsonpaintings.com/?p=674 where the size and medium of each painting are mentioned. He said he does not use retardants or mediums except to alter the effect--not to extend open time.


2. James Ransome
is an illustrator who I believe works in acrylic (again, SI annual info).


3. Sebastian Kruger works in acrylic. Mostly celebrity portraits, and frequently shows a lovely balance of loose brushwork and tight finish. Here is a good blog post on his work.


4. Jody Hegwill:


5. Joe Sorren's work is more stylized than traditional portraiture; his handling of the medium is pretty spectacular and worth checking out.


6. Andrea Ventura's medium is "mixed" but I am guessing acrylic paint is a big part of it.


7. Here's one by A.F. Branco I found on artistdaily.com


8. Stephen Bennett! BIG acrylic portraits. This one is 80x64 inches. Here's his website, and here is an article about him with good images (easier than the website to look at).


9. Helen van Wyk wrote a book called "Acrylic Portrait Painting" which is available on Amazon. She's an excellent teacher.

A little watercolor.