Not only have I been very busy with my California art workshops but also with my teaching at Sacramento City College. I'm teaching an art history class this semester, and that just eats ups tons of my time. Next semester, I will be back to only art studio classes . . . way better! Meanwhile I have just finished an interview via email and Dropbox with an editor of "Pratique des Art", a French art magazine. I am very honored and excited about this. Both of these portraits plus some more, I hope, will be in the magazine's January, 2014 issue devoted to portrait painting. Pratique des Art discovered my work through my relatively new website. Check my site by clicking here.
Sunday, November 17, 2013
Sunday, October 13, 2013
I have always liked "unfinished" paintings like the top image. This top image is the start of "Amando". In the second image, I continued to paint in color and eat into my initial "unfinished" look. The third image is now totally painted in and of course no longer has an unfinished look. My final stage will include some jazzy colored conte crayon line work. I shall post the finished watercolor soon. Dear reader - what is your opinion on this painting? Would love to hear from you.
Friday, October 4, 2013
Wednesday, October 2, 2013
One of my A+ art students at City College who is not at all embarrassed about putting on some faces. She is one of my fav. models for that attitude! This was watercolored on a half sheet, 140lb., cold press watercolor paper and painted with a verve to match her pose.
Thursday, September 26, 2013
Tuesday, September 17, 2013
A typical watercolor where you go from light to dark, paying very close attention to keeping your darks and lights in proper balance. In the first photo, you can see how my background was painted in wet-on-wet with no fussy detail. The king is the star of this show and the background is a supporting actor. Yes, I painted in some dark areas in the tree trunk and the lion's rear, but I knew these were areas where I did not have to slowly build up various areas of light, middle, and dark values. The first close up of the head is where I had to build various values from light to dark. In the fifth photo, you can see how I started working on the foreground grass wet-on-dry. The foreground is usually where you want some texture, so . . . background is wet-on-wet and soft looking and the foreground is dry-on-dry, textural, and in sharp focus (along with the lion). In the seventh photo, I painted in my final dark values into the lion's head. Notice how the log in my finished watercolor got lighter. I pulled off paint to lighten it. The log was overwhelming the lion and was not playing a supporting role. In the end, this was a challenging watercolor!
Monday, September 9, 2013
Next weekend I teach a two day acrylic and watercolor workshop on how to go about painting this pussycat. This is the start and roaring end of said pussy cat in acrylic. NEVER EVER take out a small brush and diddle around with fussy details to start any kind of painting. Lay down the big color/value shapes to build the proper foundation. Once that is done, you can begin refining, working on ever more smaller value, color shapes. It is only as you see the light at the end of the tunnel that you may have to use a smaller brush for the final details like the eyes and whiskers on this big boy. At least 90% of this acrylic painting was done with flat brushes ranging from 1/4 inch across to 1 inch across. Be patient with the building progress, and have faith that after the initial big value/color shapes are laid down for a good foundation, the rest of the painting process (refining) will yield a successful painting! I will be posting my watercolor of this guy towards the end of the week.