Monday, October 24, 2011
What were my goals and intentions in this artwork?
--I watched that video on Youtube about self portraits and the face instantly became real by blocking in the shapes. I wanted that.
How did I accomplish them?
I first drew an outline of the overall shape; I blocked in the shadows and merges; I filled them in with charcoal; put in the highlights; and softened the necessary edges.
What is my painting about?
Its a serious portrait...I feel like my expression is stoic and a bit recalcitrant. Overall, my expression is similar to that of an old photograph of an Indian Chief.
My painting is about light and shadows.
What was the most difficult challange I had to face?
My lips were so difficult. Its tempting to make them symbolic when on auto-pilot. I had to put that aside and only draw shadows. It worked!
Where does my painting really work?
The left cheek bone, the lips, and the eye lids really signify that it is a portrait of Claire Zurkowski.
Things I've learned?
Draw exactly what is there, I can not second guess that my dramatic lighting will not be understood by a viewer. Natural things portrayed naturally are always understood by the naked eye. Verisimilitude is perceived in its greatest amount when something is drawn without the implementation of made up resolutions
Mentor- for portraits, still wyeth
Monday, September 19, 2011
These mountains were ones that I came up with after studying the shapes of various Sahara mountains in particular. Based on the Rosary, here is a concentration of ten paintings after the set of ten Hail Mary's in the rosary. I am going to do one more "Our Father" painting in color. The religious notion adds personal framework to the piece.
Friday, September 16, 2011
I wanted to put a long skinny daisy in my glass, but this daffodil was the best thing I could find. I am always entranced by sprawling fields filled with Queen Anne's lace, blue corn flower, and daisies; therefore, I wanted to bring that quant beauty into my painting. I do not feel as if I did so however, because I did not paint the image of what such a flower deserves.
Using a flower, I am describing myself as a flower, with a long skinny structure that blooms on top.
If I could do my painting again I would probably try painting the painting in black and white and then adding a varnish of color on top. I always muddy my paintings, especially with water soluble oil paints. I need to begin again with simplicity and work up to complex color.
My goal through this was the make the glass seem to pop off of the page and out of the different color hues. I do not feel like I accomplished this; this perspective is quite flat.
My painting is about the light and how it reflects on a white space. The difficulty in this was to find the understandable values of chiaroscuro in my colors. Some were the wrong tint and they threw off the background and foreground of the painting.
My painting works best where the stem meets the water.
I would like to bring better structure and shape into my next paintings; hence the switch to mountain landscapes.
My greatest artist mentor is Andrew Wyeth but the saturation in his work is so low yet the hues are so complimentary of each other. I would like the achieve this simple realism.
Wednesday, September 14, 2011
Friday, June 3, 2011
This is my dog Amos. He was my first Jack Russell and he will always be one of my best friends.
He arrives to dinner early
He loves to chat in the sunlight
He runs with a smile through the wheat fields
He stays by your side even if he's scared too
He knows what will get him in trouble
He has a list of favorite TV programs
He's my dog amos
Sunday, May 22, 2011
Thursday, May 19, 2011
hanging deer-drawing after Andrew Wyeth