Hello everyone, it’s Friday again and what a relief! It’s hard to believe that this set of paintings marks the half way spot! Only fifteen more to go and it seems the time is flying by. Here are paintings 14 and 15:
#14 “Etched in Concrete”, oil on birch panel, 8″x8″
This painting is from a photograph I took of a natural patina of sorts, in concrete. I was mesmerized by the diaphanous form of a cloud, tree or mushroom that just occurred naturally. I found it beautiful and amazing.
When I set out to paint it, it was interesting. Often times I tag a painting as representational or abstract. In this case, it’s a representational painting of an abstract image~go figure.
#15 “The Look”, oil on birch panel, 4″x4″
When I saw this photo of this goat, I had a chuckle. The look on the goat reminds me so much of one of my sons when he’s in a certain mood. I like to approach portraying animals as I would a human portrait; I think it adds a lot of character and is a lot of fun.
I am reminding myself to enjoy the little things.
Wishing you a great weekend!
Hello everyone I hope you are doing well. Below are numbers 12&13:
#12 “Brown Eggs”, oil on panel, 5″x5″When I saw a photograph of this, I knew I had to paint it. The “brown” of the eggs against the robin’s egg blue of the carton really caught my eye.
When I started painting this, I realized how difficult the “brown” of the eggs really is. It’s was hard to define and match the colour, for me at least. It’s more like a range of light caramel, light chestnut, bisque and burnt sienna instead of just brown.
The blue of the carton in all it’s variations is one I have loved for a long time. So I didn’t have trouble with it. I am happy about the way the “cardboardness” of the egg carton turned out.
#13 “On the Way Home”, oil on panel, 8″x8″This painting is based on a blurry photograph I took through the car windshield. We were on the way home from a trip out-of-town. Suddenly, whilst the sky was shifting, I saw the most vibrant red in the sky. I remember never having seen the sunset that red. Maybe because it was sandwiched between dark and smouldering clouds, but the red was really intense.
Thank you for reading.
Hello everyone, it’s Monday and I hope your holiday preparations are well under way. Below are the next three installments of my paintings:
#9 “Two Halves”, oil on panel, 4″x4″This piece was a pleasure to work on, it gave me no troubles. Sometimes, regardless of the perceived difficulty or ease of a picture, some paintings will give you problems. But this one was straight forward and enjoyable to paint. I especially like the imperfections in the flesh of the avocado and the beautiful variations and depth of the green.
#10 “Raven Study”, oil on panel, 4″x6″This piece was partly a learning experience in figuring out what kind ogf brushstroke would give the look of feathers. Unless you are painting in the Hyper-Realist style, you need only to suggest the look of feathers, not paint each one. I think in the end it looks believable. I do like the monochromatic look with a hint of blue-black.
#11 “El”, oil on Gessoboard, 5″x7″This piece, in case you don’t recognize it, is ‘El’ from the Netflix series, “Stranger Things”. I thoroughly enjoyed the series and thought the little girl who played this character was beautiful. So I attempted to paint her, but it the painting ended up portraying her to look older. With the time frame I was working in, I didn’t want to correct it or do it over. And I do like the feeling and look of the piece.
It has been a lot of work so far. It is one thing to paint everyday but to finish a painting a day is quite challenging for me. The good thing is, it’s like a crash course; I am learning quite a bit about oil painting. And that’s a good thing, since my motivation for this challenge was to get more proficient in oils.
Thanks for reading,
Wishing you a great week!
Hi everybody, TGIF! I hope your week has been good. Below are paintings #7
#7 “The Diver”, Oil on Birch Panel, 5″x7″
I always liked the look of being underwater with the light shining through from the surface. In real life, I’m kind of scared of being underwater despite knowing how to swim. I really liked this picture when I saw it and attempted to paint it.
I am happy with the way it turned out. I think it could have looked a lot worse, like one of those magazine ads. I wanted it to have an introspective and psychological aspect. I like the diver figure obscured with the dark blues of the water. The darkness is contrasted by the glow of the light. It almost feels like a metaphor for life.
#8 “Study of Bird Skull”, Oil on Birch Panel, 4″x4″ This painting looks better in real life. In this picture, there’s more contrast in the contours. In reality, the painting is more subdued. That’s the look I was going for. I wanted to use a limited palette to render light and delicate variations in tone. I wanted to illustrate the beauty and delicacy of the bird skull.
I hope you like these so far.
Wishing you a lovely weekend.
Hello everyone, as promised, below is the finished oil study:
Sorry for the glare in the photo. This piece is 5 x 7″ done alla prima with a break in between. It’s part of my growing farm animal collection 😄.
The story about this piece is one of those “doh” moments in life, where you are incredulous of how dense you can be:
As you know, I was trying to loosen up my paintings. Some of the ways that you can do this is to use larger brushes and larger surface to work on. So as I was reaching for a larger surface, the only one I had already sanded was this 5×7″ panel ( it was cold and rainy and I was being lazy and didn’t want to go outside to sand). It wasn’t larger by much, but I proceeded to use it anyway.
As I was painting, I couldn’t figure out why I kept on reaching for smaller brushes to execute this painting. Half way through, I realized that while my surface was bigger, I was trying to convey a larger subject. The studies I did previously were close-ups of animals. In this case, the whole body of a larger animal is portrayed. Hence the need for smaller brushes. If I were to do a very loose study, I could have done it with bigger brushes but I didn’t want it that loose. Anyhoo, a lesson learned, however embarrassing.
Here is a closer look:
You can see some loose brush strokes especially on the leg of the cow. Suffice to say this painting isn’t what I intended in terms of really pushing looseness but it is finished.
So far, I prefer doing farm animal portraits rather than full body. I may do a few more full body studies to see if this one was a one-off.
Thanks for reading and I hope your weeks is going well.
Hi everyone, just wanted to post a quick work in progress:
Above, is my diy pochade paintbook in action. I’m currently working on a cow. All these farm animals are new to me😄. Wonder how many of them I actually will paint. You gotta admit there’s a certain charm about them.
I know I haven’t posted many group shots but, I envision these animals looking great as an ensemble. Right now, I’m still enjoying painting these. It’s not to say that I haven’t had my share of challenges! Stay tuned for the finished piece in my next post.
Wishing you a great week!
Hi everybody, below is a 4×4″ eye study in oil:
I’m still trying to establish some sort of practice routine with oil paints. So, I think I’ll be doing more of these small format studies.
Since doing my previous study of my son’s eye, I found that I really enjoy doing eyes. It’s amazing how different and expressive people’s eyes are. Even without the rest of the face, you can really tell emotions just by the eyes.
In the process of painting eyes, I really enjoy how the eye comes to life near the end of the painting. And the point of doing a study, you really learn quite a bit. For example, the whites of the eye are actually not white but grayish. I also learned the importance of cast shadows on the eyeball as well as highlights and reflections. Here’s a closer look:
The eye has a quality for inviting the viewer to be able to look “through”. I guess that’s why there’s that saying of “eyes being windows to the soul”.
I hope you will find my studies interesting as I paint/practice my way and through oils.
Hi everyone, below is a finished study of a sheep 4×4″:
As you know, I’ve been trying to get comfortable with oil painting. So I decided that I will do a variety of small studies. I think it’s a first for me to do farm animals, there’s something simple and wholesome about farm animals.
I started off with this underpainting:
I might change my method of doing things later. I still haven’t found a streamlined way of working on multiple pieces at once and not worry about layers. For example, if I have 6 paintings going at once and I work on a couple of them in one day and others on another day, some are bound to be dry and have different number of layers. That in itself is not a problem, but as I have to add more fat in each layer of a painting, I will not be able to remember how much fat was added or which layer it is (number) in a given painting.
I might implement a drying rack system to help with the problem of sorting out which stage a painting is in. I already hacked/built a drying rack to store my paintings. Maybe as I paint, can I store them different slots that identify different layers. Them, I use mediums that I formulated with different ratios of fat to correspond with the layers. We’ll see I guess.
Anyhoo, I have found that realistic representational paintings take a lot of time and sometimes tedious when working on them. And since I don’t want to deal with layers, I try to finish them in one sitting. Maybe when I get more used to them, I won’t worry too much about technical issues about the material. But they are rewarding when they are finished:
Above is a closer look at my sheep. It’s refreshing to paint different subject matter sometimes. It goes to show you, you should always try something new.
Wishing you a productive week.