Giverny – There’s no panic in painting!

Took another stab at Giverny. Added the remaining foliage in the lower left bank, added the wooden posts, and took yet another whack at the water.

This water is looking much better than past efforts. Did some research and practice sessions to work on the technique. Pretty sure this will be easier the next time I take on moving water because it will be from a clean slate, but correcting/updating this piece is tricky. Regardless, I stuck with my “don’t panic, there’s no panic in painting” mantra and pressed forward. I’m happy with the progress, but the water will have a couple more sessions of work. However, for the first time, I feel like the basic structure and feel is in place. Yeah, some of the greens are too saturated, and the gray sky reflection (the white-ish part in the center) isn’t working yet, but it’s a huge stride past where I’d been stuck before. Feel like I’ve pushed past a plateau and can build from this. That said, anyone with helpful advice is more than welcome to offer; as you can tell from past posts on this project, I could use the help.

Reference Photo
Reference Photo
Water attempt #5!
Water attempt #5!

Going Big!

Started a new project this past week. I won’t reveal the final design details, but suffice to say its going to be very different from anything I’ve done so far in many ways:

  • No reference photo: Instead it’s inspired by my wife, who is the source of this great idea, and it’s something very personal for both of us. While I don’t have the convenience of a picture to look at whenever I need guidance, I get to collaborate with her and evolve the idea together as it comes out of her imagination.
  • This is BIG! At least for me. This is going to be twice the size of any work I’ve done in the past – 24″ x 36″.
  • The technical challenges are very different, too. At first I thought it would be much easier because I’m using mostly just 2 colors, but neither are straight from the tube, which means the need to mix enough volume to cover the entire area is something of a challenge, which I didn’t realize until I was already running out of the first batch. You really have to mix a large volume up front so the area is covered in a contiguous hue, or else it will look uneven, i.e. the top half will look darker, lighter, duller, etc than the bottom half. In a landscape painting, even a large piece, you can get away without worrying about slight variations because you use it around the entire piece to create depth and texture to the objects, but this is a modern piece that needs continuity (at least for part of it.. hint hint of what’s to come) throughout.
  • The other technical challenge is doing the large heart shape freehand. I didn’t use a stencil, and actually took some time to create a demo piece on a much smaller scale to get the proportions and shape aligned with what my wife wanted. Then it was a matter of dusting off some high school math on ratios to translate to the larger format, i.e. the 10″ x 11″ heart is what dimension on the 24″x36″ canvas? Patience on the drawing front paid off.

The photos below show the staging and completion of stage 1. I promise you, stage 2 and the challenges involved will be very exciting, so stay tuned for updates in the coming week.

IMG_3528 Reference drawing/painting. This was used to get the palette choices figured out and the proportions and shape of the heart established. The original idea was red on yellow, but all we could see was McDonalds, which led to a lot of laughter as we tested out new background options. The baby blue was final decision. The heart is cadmium red + a little white + a little permanent green light. The blue is Titanium White + a little Pthalo Blue. Looks greenish on this test piece b/c the yellow was bleeding through.

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This is what 24×36 looks like on my easel. It dwarfs the pieces stacked up on the floor – still dealing with renovation messes, so all the art isn’t back up on our walls yet.

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Transferred to the canvass, the red heart is looking great!

Finished with Phase 1 after getting the blue background slathered on. Getting the line crisp along such a large object made my shoulder ache, but it was great practice for painting adjacent wet paints. No easy feat, especially with the curvatures of the heart. I had to rotate it around the easel many times to get the right painting angle.

The color combination in real life is a little less saturated, but it works really well together. Hats off to my wife for making the palette call on this one. I wouldn’t have thought to go with such bright hues, but it works really well. Finally, the picture doesn’t show the texture contrasts – I used a palate knife for the blue area and brush for the heart. More on that later.

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Back on the Canvass! Giverny Stream

Went on a short hiatus, but getting back in the swing of things. Getting ramped up on a few new projects, but knocking the rust off by revisiting an old foe – the love / hate relationship with Giverny. Original post is here.

There is a post of earlier progress on this green monster, but I’m finally starting to get my head around the challenge of reflections in moving water. See for yourself…

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Water Session #1

First, tried doing variations of blue water with white highlights, which didn’t look right. Roughed in the purple flowers in the lower left front corner.

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Water Session #2

Next idea was to do more greens with more aggressive use of whites/grays to give the sense of moving water. That didn’t work, but the additional work on the ferns on the right side was productive.

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Water Session #3

Third swing was building up much more gradual and interlaced mix of greens and grays. This photo is poor quality and doesn’t show the water very well, but it’s actually better in reality. Next session I’ll work in more of the greys to really give the sensation of moving water under a grayish sky. Also spent time reworking the reflections of the pink flowers and yellow flowers, both of which look really good in terms of glassy look on the water.

Daily Sketch #24: San Francisco tower

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Quick sketch for San Francisco fans. This is Coit Tower, an iconic part of San Francisco, from one of the surrounding neighborhood streets. I think this is on the downslope side that  trickles down to North Beach.

Despite the ridiculous clown car at the bottom, the rest of the sketch holds up pretty well. My challenge tonight was drawing varied perspective very fast. When drawing any of the San Francisco architecture, it’s not long before it loses it’s charm and starts to drive you insane! So many lines, curves, and wickedly detailed bits. And don’t get me started on the cast shadows on a sunny day. That said, it’s very rewarding when you’re done b/c you look up at your drawing and “BAM!”, you’ve got a beautiful urban landscape.

This will likely become a knife painting project in the near future. The colors are simplistic, but there’s a good mix of fun stuff in the shapes and angles that an oil painting would work well.

Daily Sketch #23: Drawing in Reverse

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Today’s sketch is inspired by curiosity and experimentation. I thought it would be interesting to do a drawing in reverse, kinda. The idea was to fill the entire page with a graduated value scale that was pretty dark, then remove graphite with a gummy eraser to “draw” the trees.

I’m happy with the result, but it made me think a lot more than I had anticipated. And frankly, this is more complicated than I initially thought it would be. While I only spent about 20 – 30 minutes on this one, it could have easily been a couple of hours. Here are the things I had to consider:

  1. Should the initial value shading be done with the darkest darks (about a 9 on a 10 point scale) in the distance where the pathway fades away, somewhere on the horizon line, or more in the foreground. I opted for somewhere near the end of the pathway, but then spread it out a little further once I got into the sketch details. I thought the horizon line would have been a good idea, but who the hell knows where that really is in this kind of composition.
  2. Trying to fill a large block with darkness wasn’t as easy as I expected. All the drawing lessons I’ve taken, ILT or self paced, you do a lot of shading exercises that have boundaries, shapes, and contrasts. You never do a whole page. Apparently nobody teaches that because you might go insane. Trying to get it laid in well enough to not be distracted by the sketch lines wasn’t easy, but it was a sketch so I didn’t worry about it too much.
  3. Related to #2 above, it was also important to not press the graphite into the paper too hard because I was going to pull off parts of it to “draw” the trees.
  4. Drawing the trees with a gummy eraser is fun, but ever so weird. I’ve used this technique to get texture and shape in clouds, but trees have more definition and sharper lines. It worked pretty well, though.

Overall, the effect is creepy and cool. The pathway is very light, although it darkens as you move further along – might be hard to see in the photo. There is a lot of variation in values in the darkness of the forrest, which is similar to getting just the right subtle mixture of color in an oil painting. It’s nice in this sketch because it gives a sense of atmosphere and prevents it from looking flat. Speaking of which, that was the hardest part with the trees. Pulling off enough graphite with the gummy eraser in just the right places so as to give the impression of trees with shape was the primarily challenge. The outcome is something unusual, deceptively layered, and just a bit eerie.

For the detail oriented, this sketch utilized the whole drawer: HB, 2B, 4B, 8B and an ebony. As mentioned, the gummy eraser was used for the trees.

Daily Sketch #22: Normandy Coast

Tough week on time for sketching, so another 20 minute effort. Wanted to take another whack and getting a quick sketch of rocky coastline done quickly. It forces me to draw loosely and step away from the detail, which is very hard for me to do. But it worked out today. Not the best result, but given the time constraint it works for me.

This is the Normandy coast, similar to an earlier sketch. This is Point du Hoc I believe, but not 100% sure and too tired to go rooting around my notes to confirm. Clear blue sky, calm seas.

HB and 2B only.

Daily Sketch #21: Ball! Ball! Ball!

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For all the dog lovers out there!

Sketched with 2B, HB, and 4B pencils. Quick, loose style done in 20 minutes.

I didn’t have a reference photo, but rather was inspired by a small painting by an artist I really like, Kanna Aoki. The palette she uses is very bright and vibrant, but she’s masterful at capturing that magical California lighting in landscapes.

Daily Sketch #20: Daily Buzz

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Sorrento’s is the coffee shack across the street from my office. This is a more complicated sketch than I had time to complete, but this gets it most of the way there. I’ll work on this one some more and perhaps post the final drawing.

I like drawing buildings despite the exactitude of the lines. I used this sketching opportunity to free-hand all the lines instead of using a ruler. It’s good practice and gives the composition a more artistic look, as opposed to an architectural sterility.

I spent a couple hours on this one, using mostly 2B and HB pencils.

Daily Sketch #19: Pointe Du Hoc

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Got behind with posting, so playing catch-up for a couple days and the memory on some of the details are hazy.

This is the Normandy coast, from Pointe Du Hoc looking east. It’s a very moving place. If the sheer historical value of the place doesn’t grab you, the pill boxes and pockmarked landscape of D-Day bombs will. Words cannot express my gratitude and respect for the actions and bravery delivered by the Allies in this part of the world. An unfortunate time with a fortunate outcome.

As for the sketch, its lacking. I’m not sure how to sketch the cliffs, but I know part of the problem is too much detail and trying to be to realistic with the textures of the rocks. I’ll get it right at some point, but today wasn’t the day.

Daily Sketch #18: Ahoy Matey!

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Today’s sketch is courtesy of a French harbor. There was another boat alongside this one, but I took it out to reduce complexity and time. Curves on the boat were fun and the shading of the mast was essential in giving it the right shape.

All the stuff in the background is made up. Wanted to give the sketch some better context and these were easy things to add quickly.