Learn and Pass It On

I am an artist and a teacher. One of my favorite things to do as a teacher is to travel to different art centers, art clubs, and associations and give demonstrations. I get to meet so many fascinating people who are just as passionate about art, and how its created.

The subjects may include landscape, still-life or portrait but my primary focus is to share my knowledge in a fun entertaining way that will inspire the attendees to try a new approach to painting or to discover a way of seeing something that they haven't before. Just as important, I want to reassure beginning students that there are stages to learning that we all must work through to become better artists and encourage them to keep at it. 

Documented here is from a recent still life demo. Most venues provide wireless microphones and overhead video projection so everyone can see and hear.





Pictured above is a four step breakdown of my approach for this particular demo. Having only one hour to paint this, I wanted to show a systematic approach. (See my May 9th &16th posts to learn more approaches to painting). First is finding the composition. Second is stating the dark values. Third working middle values. Fourth, adding highlights and relevant detail.

One Step at a Time

As I have mentioned in previous posts, I make it a point to practice drawing from live models once or twice a week. The adage, "if you don't use it you'll lose it" is so true with drawing and painting. Frequency is the key to maintaining skill level and dexterity.

For me, drawing and painting aren't that different in approach. I took progress photos using my phone every 20 minutes during this portrait to document my approach. (See image below).

The first 20 minutes is the most crucial. I look for a comfortable placement of the head on the paper. I'm working a linear approach at this stage. The big shapes are laid out: head shape silhouette, division of hair vs. face, placement of features in correct proportions, etc.

Since I'm working from a living breathing being, I know when the model comes back from a break the pose will be close (with some direction) but will never be the same. Hair will change, fabric folds will always change, the model may make slight adjustments to make themselves more comfortable as he or she settles into the pose. If I don't get this first stage down and locked in during the first sitting, I'll be chasing the drawing for the rest of the session.

Second, 20 minutes is simply separating light vs. shadow shapes. At this stage, I transition from using the line to a tonal approach. No different than painting. It's about laying down big areas of value and getting the value relationships to read correctly. I even start to indicate lighter values with white charcoal. I'm using a terra cotta colored pastel pencil on tan paper by the way.

Third 20, is about refining value shapes, building lights & highlights as well as building texture in the hair.

Final 20 minutes, boy does that last 20 go quickly! Refinement and polishing are the objectives until the model timer rings. Don't forget a signature!

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White

Paper: Strathmore Toned Tan

Dimensions: 11x14 inches

Pastel Sketch of "Bill"

This is a pastel sketch I did of “Bill” our model for an evening at a local drawing group that I attend. I used a 5x7 inch grey toned Pastelbord made by Ampersand. I’ve included a picture of my drawing before I started to layer the pastel on top of it. The dark area on the bottom right of the drawing is just a shadow from my camera phone. (Click on the image above for a larger view).

Although I want the initial drawing to be as precise as possible I know that it’s only a starting point. I will make many small adjustments throughout the painting process. It is to be expected that the model will sit slightly different after each break, shift, tilt or a change expression during a session. Maybe these slight changes could be better for the painting. Over the course of a few hours many decisions must be made for the integrity of the final image.

This painting is unfinished and I find certain freshness in that. Much of the “process” is still evident and that can also give life to a painting.

"Bananas #2" Oil Painting Progression Video

You can also click here to watch the video.

"Apple Half" Oil Painting Progression Video

I shot photo stills as I was painting my last blog post “Apple Half” and made them into a brief instructional youtube video. Click the image above or  click here to watch the moive on youtube.

"At the Crossing" Oil painting progression video

Here is another painting progression video for your enjoyment. In this approach I used a yellow ocher and raw sienna under painting to map my value structure. Once the under painting was dry I began blocking in the major color shapes, then progressively refining each section to completion. You can also click here to watch the video.

Medium: Artist quality oil.

Painted on: Artist quality linen.

Dimensions: 24 x 36 inches.

"West Coast" Oil painting progression

This is a 10 step oil painting progression video of the Oregon coast. It documents only 10 of the numerous transitions a painting goes through to reach completion. In the middle stages of the video there may not seem to be any real changes going on but there are many subtle shifts happening within the landscape. If you keep an eye on the far left rock in the water you will notice by the end it has been intentionally moved more to the right to produce a more pleasing composition.

You can also click here to watch the video.

Medium: Artist quality oil.
Painted on: Artist quality heavy weight canvas.
Dimensions: 24 x 48 inches.

"Eggplant" high speed movie