Well, I thought I'd be getting back to my usual pace of two posts a week, but lately I have just been too busy. I had that workshop up in Amador, (awesome!) I have another coming up on the Sonoma Coast, I have a weekly class, and I'm trying to finish up a group of paintings for my show in Chicago next month. Packing and shipping twenty five paintings take a lot of time I don't have, too.
I will post the last of the paintings for the show soon, (you have seen some of the earlier ones on this blog) but for now, I thought I'd post some of the studies and class demos I've done in the last month or so.
This first one is a 9 x 12 I did just yesterday, as a demo for my figure class. Sort of a limited palette thing. She actually had this punky metal collar thing which I painted during the demo but took it out after I came home. I wanted something less fashiony.
Another 9 x 12 class demo from a several weeks ago. The gesture is stiff and sloppily drawn, but I enjoyed doing it. Has potential, I think. Perhaps I'll revisit this pose when I have a suitable model.
Speaking of sloppy, here's one that started out tightly but toward the end I got fed up with it because I had put in too much detail. I started to take some out with blobby, abstract brushwork. Not really a successful study, but hey, ya win some, ya lose some.
Here's one that's more straightforward. I like this one a lot for it's economy of brush and directness of application. I was focused more than usual, and it shows. I wish I could do this more often.
One from last week. I've been playing with lost edges a lot more lately, and for this one, I thought of either making the background light and losing the flesh into the background, or making the background dark and losing the garment into the background, popping the bare skin. I went with the former and I like it well enough. But if I had more time I would liked to have done another and do the other option, just to compare the two.
The chairs in this painting are made up. they're just dark silhouettes to make the otherwise uninteresting shape of the skirt more engaging by linking with one another. The skirt and the chairs are treated as one shape, which is far more interesting than just the skirt.
This one kind of ended up looking like an Alex Kanevsky, whose work I admire very much. I wasn't intending to copy his style, but in playing with lost edges that don't conform to rules of traditional representational painting, I accidentally arrived at this. Still, the brushwork, drawing style, value and shape organization are mine and I'm sure my decision making processes don't resemble his, so I don't feel so bad.
Anyway, this one I like very much for the new ideas it gave me. I plan on exploring some of the little things I discovered and see how I can apply them to my landscapes and cityscapes.
OK, back to work!