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Monday, March 20, 2017

Step Four: Color Studies

This is Step Four of "7 Steps of A Painting". Here are Steps One: Inspiration, Two: Computer Design: and Three: Value Sketches.

My students like color studies much more than the value sketches of Step Three. The color studies are small, 5x7" paintings that are fun to play around with because it allows you to try out several of different color schemes, especially a color combination you wouldn't normally use.

Here is my value sketch from Step 3.













Because I wanted to keep the original colors of the stain-glass window, I decide to paint with an analogous color scheme of blue, blue-violet, violet, red-violet, and red, and a complement of yellow. I can see how the painting will look and feel before starting on the larger painting. I like it, so the next step is the drawing--stay tuned for next week's post.


Monday, March 6, 2017

Step Three: Value Study

Here we are at Step Three of a seven-part series on creating a painting from conception to framing. Step One discussed inspiration and Step Two covered computer design.

Step Three is the probably most hated step among my workshop students. Beginner students find it difficult to understand how a small, black and white rough sketch can improve their paintings. It takes time and lots of practice to see the benefit of arranging your painting into simple black and white value shapes. The arrangement and adjustments of the value shapes can make or break a painting.

In Step Two, I showed you the initial computer design for my painting, Disconnected.













I took the image of the mother and child and combined it in Photoshop with the image of the stained-glass window and a brick wall. If you squint your eyes at the design, you can see that there is not a good mix of light and dark values. The stained-glass window, the upper left shadow, and the figures are almost the same value and there is no impact. The shapes all blend together. I can adjust those values with a little sketch.

In the value sketch, I adjusted the lights and darks so that the highest contrast on the mother, keeping her the focal point despite the busy stained-glass window behind her. The window is mid to dark values with the darker shapes leading from the upper, right corner to the figures. The figures are framed by the vertical and horizontal lines. 

Next week: Color studies.

Monday, February 27, 2017

Step Two: Computer Design

This is part two of a seven-part series on my process for creating a painting. Last week was Step One: Inspiration.

Once I have my initial inspiration, I put the image into Photoshop to work out the concept and design. As I explained in step one, the original photo had many detracting elements that did not add anything to the painting.

As I looked at the photo of the mother and child, I thought of "Madonna and child" and began to play with the idea of a modern-day Madonna and child. I browsed the internet for images of churches and stained glass. Juxtaposing the mother and child with the stained-glass image shown below made me think of the many ways that people today feel either supported or disconnected by the church. Placing the woman and child below the Madonna seemed to suggest that the woman was being watched over, or is it judged? It will be up to the viewer to use their own ideas and experiences to interpret the painting for themselves.

I run out the computer-enhanced image in a 5x7 size so I can proceed to my next step, value sketches, which is next week's post.


Original photo


After computer design

Monday, February 20, 2017

Step One: The Inspiration

The next seven posts will explore the steps of creating a painting from beginning to end. The steps I follow are, roughly: inspiration; computer design; value sketches; color studies; drawing, painting; and framing.

This post explores step one, the inspiration. This is the "why" of your painting. Why were you draw to this particular image and why do you want to paint it? The answer to that question will guide your decisions through the painting process.

Here is the initial reference photo for my painting, Disconnected.

















About The Photo
I was walking in Charleston, SC and saw this young mother and baby sitting on the curb. I was drawn to the loving way she held and looked at her son, as well as the beautiful lighting on her hair and arm. This was all I needed as inspiration.

Copying the photo as-is was not an option. The location, car, and vegetation detract from the imagery of the mother and child. How to incorporate the inspiration into a well-designed and conceptual painting? Stay tuned for next week's post.The next several steps will be focused on the design and composition.

Next week, Step Two: Computer Design.



Monday, February 13, 2017

Watercolor Workshops for 2017

APRIL 5-8 / CHARLOTTE, NC
"GOING BEYOND A LIKENESS"
Watercolor portrait and figure workshop for all levels
Nancy Couick Studios
Syllabus and supply list
Photo reference guide

Students go beyond mere portraiture and the goal of achieving a likeness. We will delve into the design and planning that are integral in telling a story or communicating an idea. The workshop progresses through the stages of a painting, from initial inspiration and reference material to value and color studies to final painting of a figure or figures. Although students may complete one or several paintings during the course of the workshop, the ultimate goal is not to create a masterpiece, but to experiment with new ideas and techniques and to make plenty of mistakes.





May 20 / PITTSBURGH, PA
"PAINTING THE FIGURE"
Watercolor figure workshop for all levels
New Kensington Art Center
Syllabus and supply list
Photo reference guide

This one-day workshop is designed for students wanting to incorporate more creativity and personal expression in their figure paintings using values, edges, and backgrounds.





OCTOBER 16-18 / FARMINGTON, PA
"PAINTING EXPRESSIVE PORTRAITS AND FIGURES"
Watercolor Master Class for all levels
Nemacolin Woodlands Resort
Sunday, October 15 will be a special private welcome reception for students and an
art tour of Nemacolin's world-renown art collection.

Learn to paint expressive and creative portraits and figures in watercolor. Enjoy three days of creating, learning, and inspiration in the brand-new studio space of beautiful Nemacolin Woodlands Resort. Bring a spouse or non-painting friend to enjoy the many amenities of Nemacolin and make it a getaway retreat for all of you.

Syllabus and supply list will be posted April 1st.



Monday, February 6, 2017

Drawing From Life

In Pittsburgh, there are lots of opportunities to attend figure drawing sessions with a model. The hard part is fitting it into your schedule. I try to go once a week for practice, camaraderie, and inspiration. Here is a sketch from the last session at Panza Gallery. The session was three hours, broken into 2, 5, 10, 15, and 30-minute poses.

Model Sara, charcoal over watercolor, 1/2 hour pose

Monday, January 30, 2017

American Watercolor Society 150th International Exhibition

The American Watercolor Society is a nonprofit membership organization that began in 1866 to promote the art of watercolor painting in America.

Each year the Society holds a juried exhibition of watercolors from artists throughout the world.

My painting, What Plagues Us, will be included in this year's exhibition. It will be held at the Salmagundi Club at 47 Fifth Avenue, New York, NY from April 3-22, 2017.

To find out the story behind What Plagues Us, click here.


Monday, January 23, 2017

Let's Paint Together: Upcoming Watercolor Workshop

I am headed to Charlotte, NC in April to teach a four-day workshop at Nancy Couick Studios. Workshops are a great way to immerse in painting, creating, and learning. You can check out the class description and supply list or register using the links below.I hope you can join us!

"Going Beyond A Likeness"
Nancy Couick Studios
Charlotte, NC 
April 5-8, 2017

Potos from my last 4-day workshop for the West Texas Watercolor Society:
Demo for the West Texas Watercolor Society
Watching the demo. You could hear a pencil drop!
Student portraits from Day 1
Student color studies for their next painting
Lots and lots of studies!




Tuesday, January 17, 2017

The Art of Watercolour magazine

I was thrilled to have my artwork included on two full spreads and to see so many of my watercolor idols in the latest issue of The Art of Watercolour! Thank you to Laurent Benoist, who edited my writing into something coherent and to Janine Gallizia, who asked me to part of this wonderful magazine.
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All you watercolor nerds can order the print or digital versions here:
Digital--http://en.divertistore.com/the-art-of-watercolour-25th-issue-digital-edition.html
Print--http://en.divertistore.com/the-art-of-watercolour-25th-issue-the-magazine-for-watercolourists.html








Monday, September 26, 2016

Getting A Likeness in Portrait Painting

To achieve a likeness in a painting, the values have to be accurate.Getting accurate values (lights and darks) can be tricky because a perceived value is relative to the other values surrounding it. For instance, when a value is surrounded by darker values, it looks lighter than it actually is. The reverse is also true, lighter values surrounding a value will make it seem darker.

Below is my painting from a weekly figure drawing session that I attend. The first image is before the values were adjusted. You can see that the face feels flat and the eyelids look to prominent.

In the second image, the values depicting the eye sockets and the lower part of her face were darkened and create a more realistic painting. The values on her forehead and cheekbones now look lighter because of the added darker values on her face and in the background.



Monday, September 19, 2016

Painting from Life: A Weekly Discipline

I try to get to Long-Pose Mondays as often as possible to work on getting better and faster with my figure paintings. It's a life-long journey but it's exciting to know that every single week presents a new opportunity to learn.

Here are a few recent paintings done in the 3-hour session, plus an additional hour back in my studio.





Thursday, August 25, 2016

Never Stop Learning: Weekly Figure Drawing

I attend figure drawing and painting sessions most weeks. My favorite is Long-Pose Monday, where we draw or paint from a live model in one, long pose. The 3-hour session is broken up into 20-minute poses and 10-minute breaks, so the total drawing time is about two hours. The following day, I will tweak for an extra hour in my studio. I learn so much from these sessions!

Here are few recent studes:









Saturday, May 28, 2016

New painting "What Plagues Us"

When I posted this latest painting on FB and Instagram, many people asked the meaning of the symbolism and the figure so I thought I'd share that here.





















"What Plagues Us"
30 x 23"
watercolor

The painting is not 100% finished; right now it is sitting in a closet so I can look at it with fresh eyes in a couple of days. Let's say it is 90% done.

The title comes from an idea I had about modern-day plagues. Not the Black Death and Locust plagues of Medieval and biblical times, but the ever-persistent, man-made plagues like intolerance, inequality, and injustice. I was moved by the story of Malala from Pakistan, the little girl who was shot in the head by the Taliban because she wanted to attend school. It led me to research the most dangerous countries in the world for women.

The painting depicts a woman wearing a "plague mask", a mask worn by doctors to ward off the plague when visiting patients. In her hand is a rat, synonymous with the bubonic plague.

In the background are the flags of Chad, India, Pakistan, Afghanistan, Nigeria, and Saudi Arabia; very dangerous countries for women for a variety of reasons. I could only fit six but obviously, there are more. I selected the ones that would best fit the design of the painting.

The girl with the raised fist is the ubiquitous image from the campaign,"Bring Our Girls Home", a reference to the Nigerian school girls who were kidnapped by Al-Shabab and most of whom are still missing.

Although the painting is not a religious painting, I used religious symbols of Christianity, Hinduism, Islam, and Judaism to show the intertwining of political and religious issues.

There are two words--strength in English and freedom in Arabic.

The other parts of the painting were included to support the design and composition more than the message.

I don't usually paint such overt messages, mainly because I am no expert on the issues and I am generally interested in depicting eveyday stories of people and neighborhoods in my life. This time, I decided to step out of my usual and try something a little different. I'd love to hear your thoughts.










Monday, April 18, 2016

Who Is John Reigart?

One of the more interesting projects I've worked on is an upcoming art exhibition called "John Reigart". It is part visual art and part performance art. Curated by artist Brett Yasko, the exhibition will include works by over 200 artists asked to create a portrait, in any medium or style, of the same person, John Reigart. Why John? That's what viewers will find out at the exhibition. John will be the docent for the exhibition, telling viewers about the artwork and about himself. My painting for the exhibition is below. To follow the project on Tumblr, click here.

SPACE Gallery
June 24 - Sept 4, 2016
Pittsburgh Gallery Crawl: July 8, 5:30 - 10 (free)

Hello, My Name is John, watercolor, 26 x 30"

Monday, March 21, 2016

Commissioned Dancer Drawing

This drawing was a commission for a dear friend. The challenge was to create an artwork featuring her two dancer daughters that was not a smiley, traditional portrait. This bird's-eye view made it necessary to add enough detail to their bodies so that the viewer would recognize the girls without seeing their faces.

The client was also interested in showing the mirror in the background. To keep the mirror image from distracting from the focal point, I kept the values close together; the lights and darks are not as contrasting as the lights and darks of the figures in the foreground. I also kept the edges of the mirror image less sharp and defined.

This is one of my favorite commissions.

The Sisters, 26 x 20, charcoal on paper