Showing posts with label Small Studies. Show all posts
Showing posts with label Small Studies. Show all posts
Friday, December 13, 2013
Wednesday, December 11, 2013
Sauk County...oil on alkyd ground linen...8"x 10"
Played with texture...heavy build up in foreground to juxtapose against background for depth illusion...
Thursday, February 09, 2012
Low Tide... 4"x 12" oil On Route to Whittier Alaska
Itching to paint some oils...following my teaching day today, painted this small study...wonderful glorious mountain views from South Anchorage heading toward Whittier, Alaska...
click on image to see larger...
click on image to see larger...
Friday, October 07, 2011
Alla Prima..Brushwork..Edges, Exercise still life for Webinar
Filmed the making of this oil tonight, 10"x 8" on pumice panel. For an up coming webinar Go To Meeting that will be dealing with painterly suggestive realism, brushwork..October 18th...
If you registered and attended the first webinar session on Composition, then you are good to go for all four of this series. If you are just joining us, here is your registration link...free to attend-
Go To Meeting with Larry Seiler
Friday, March 18, 2011
New one...Red Hot Tomale...muskie lure...9"x 12" oil on linen
Started one today...not finished...
The "Muskieburger Red Hot Tomale..."
This thing is actually pretty huge...a foot or so in length at least!
This thing is actually pretty huge...a foot or so in length at least!
Thursday, January 13, 2011
2nd Session...Hawg Teaser... 9"x 12"
My second day at this one...feeling a bit beat up, but thinkin' I'm starting to win the war...
Wednesday, January 12, 2011
Hawg Teaser...first session...oil on linen
There is no benefit for professional artists, I believe...in sharing only their grand works and not the stinkers or at least when the going gets rough and requires wrestling.
Perhaps it is the near 30 year educator in me that obligates my sense we teach best by our transparency, though...marketing tends to require that we create this personae that we are larger than life. Revealing our human traits brings us down to the commoner level...and we risk damage to the progressive awe we might wish others to cultivate. I think though..such is dishonest. This painting stuff is a journey. The awe is rightly credited toward that level of hard work, discipline...lifelong study, and that never say quit attitude. Other than that we painters are all on a journey. By default of age and time, some of us have traveled farther along, or less so.
Since my interest is experiments, push...here is one I had time only to start today.
Often...there is a point in a painting that I am aware (especially plein air) that I've reached a critical moment where the work might well miserably fail, and I know that by the notable knot in my stomach. Its also a high endorphine time...a natural high to engage this moment head on...and certainly reminding ourselves we've been at such a moment a gazillion times before only to succeed...we proceed almost in a state of faith that once again it will be so.
The painting is of the muskie lure, "Hawg Teaser" and is at that juncture of potential failure.
Remember...I'm trying to develop that knack to paint a work...then scrape and scumble it to a point of nearly destroying it...only to build it back judiciously, recover and refine a focal point and leave a good area peripherally abstract.
Here is where I'm at in theory which will lead to practice. Thus far my other lures have I believe for the most part worked...but, they've been to this point "safe"...or safer than I was willing to venture. I bite my lip and tense up to go against things inside of me from long practice, and know that to continue from here is to risk not just creatively destroying and recovering successfully...but actually destroy beyond redemption.
I tell myself..."its only paint...just a painting! What' the big deal anyway!"
Too often we paint as if the one we are working on seeks to prove an argument against ourselves that we know nothing about painting whatsoever, and in the end are only a poser, a dreadful hoax. Funny thing is...we can paint 30 years and hold some reputation, and still harbor that merciless insecurity!
Shall we run to our closet to pull our past works to console ourselves??? hahaaa...
I like how Edgar Degas put it..."painting is easy when you don't know how, but very difficult when you do!"
we shall see then how this one goes...I'm waiting on pins and needles...! 8^)
Perhaps it is the near 30 year educator in me that obligates my sense we teach best by our transparency, though...marketing tends to require that we create this personae that we are larger than life. Revealing our human traits brings us down to the commoner level...and we risk damage to the progressive awe we might wish others to cultivate. I think though..such is dishonest. This painting stuff is a journey. The awe is rightly credited toward that level of hard work, discipline...lifelong study, and that never say quit attitude. Other than that we painters are all on a journey. By default of age and time, some of us have traveled farther along, or less so.
Since my interest is experiments, push...here is one I had time only to start today.
Often...there is a point in a painting that I am aware (especially plein air) that I've reached a critical moment where the work might well miserably fail, and I know that by the notable knot in my stomach. Its also a high endorphine time...a natural high to engage this moment head on...and certainly reminding ourselves we've been at such a moment a gazillion times before only to succeed...we proceed almost in a state of faith that once again it will be so.
The painting is of the muskie lure, "Hawg Teaser" and is at that juncture of potential failure.
Remember...I'm trying to develop that knack to paint a work...then scrape and scumble it to a point of nearly destroying it...only to build it back judiciously, recover and refine a focal point and leave a good area peripherally abstract.
Here is where I'm at in theory which will lead to practice. Thus far my other lures have I believe for the most part worked...but, they've been to this point "safe"...or safer than I was willing to venture. I bite my lip and tense up to go against things inside of me from long practice, and know that to continue from here is to risk not just creatively destroying and recovering successfully...but actually destroy beyond redemption.
I tell myself..."its only paint...just a painting! What' the big deal anyway!"
Too often we paint as if the one we are working on seeks to prove an argument against ourselves that we know nothing about painting whatsoever, and in the end are only a poser, a dreadful hoax. Funny thing is...we can paint 30 years and hold some reputation, and still harbor that merciless insecurity!
Shall we run to our closet to pull our past works to console ourselves??? hahaaa...
I like how Edgar Degas put it..."painting is easy when you don't know how, but very difficult when you do!"
we shall see then how this one goes...I'm waiting on pins and needles...! 8^)
Tuesday, January 11, 2011
Jack Cobb muskie lure...finished
Wrestled, scraped...declared war...pushed the paint, a hard fight...and other than minor wounds think I arrived at my objective. Click to see larger view...
8"x 10" oil on Senso linen...
The Process of Growing...
Based on some comments I have received, here...Facebook, and Wetcanvas...thought I'd ramble a bit, reflect...offer perhaps some insights to the growth process, my growing at least...should that prove of any interest.
I've worked on the idea of lures for sometime now. I've been fascinated with the moment of euphoria, men and women as sportsmen engaging the outdoors, their spirit lifted up, refreshed...filled with anticipation and joy. A whole other area of "Sporting Portraits" was born out of that...which is a whole other area of my artistic life that I share with sportsmen one on one...give them a card with a special online site for them to check out...
but...of that, is the lore..
My younger son now 29 years of age...caught a monster trophy largemouth bass when he was quite young. It was quite a story, and an outdoor television program listed/featured his catch, and we had the bass mounted, kept the lure...and one old polaroid photograph. I decided to set them on my art table...and did a simple painting, a study...of the photo, what was written on it, the lure...etc.,
you can click on the images to see them slightly larger...
thing is, I was already trying to break up the background in this painting, done just a few years ago now. Getting more and more dissatisfied with flawless fill...and you see I've allowed the undertone to come thru to create more interest...
In this "incidental" done sometime in 2006...you see my use of brushwork, hints of color again aiming to create more variation in the background, though the spinner is the focal interest, attempting to diminish edges here and there.
Its funny now that I see it, but many of what I called "incidentals" that is...studies done aside with the idea that they should not define who I was ultimately as an artist...were done with an aim to more and more loosen up, become proficient, efficient, make quicker decisions all the hope to give me greater empowerment outdoors where sunlight comes in a smaller window of opportunity.
I actually thought at the time that this next one was more suggestively painted as an illusion of realism, well...when you compare to my old realistic rendering and laboring, sure...
I was so proud of the smudging of paint that suggested the Boy Scout logo...but still, look at the refinement of the topographical map and the finishing of this small painting top to bottom and side to side...
As fine as I thought this one was, I yet have it...meaning to my thinking it did not capture the mind or interest of viewers enough to buy it.
I mean...selling isn't everything, and my wife probably wishes that I had more interest toward that end actually or at least was more business savvy so-to-speak, but when you think you've done something well and sometimes doesn't sell, you think perhaps you missed the mark of what appeals and catches the eye.
I don't get discouraged by such...but am encouraged then to push, experiment some more.
We live afterall in an image bombarded world, and the eye is attuned to the necessity of wading thru all those images by tuning out, and doing so quite effectively. Part of the painting game is to reflect and develop strategies in our design and composing that would cause a work in this age to command attention and interest. One more thing that makes painting so alluring for me is this undaunting task...
As for the latest lure I'm doing...(the Jack Cobb posted below) not yet satisfied with the background...the lure in actuality is resting on grain of wood. I know without a doubt I can painstakingly represent that wood...
Here...a simple duck call with lovely wood grain...and as an incidental a suggestive effort to so paint the wood.
Thing is, the wood grain, is not the focal point nor interest...and the concept I'm attempting at the moment is how to use negative space as a comparitive note that directs the eye to the lure.
As an empty space...the lure being all there is, naturally the eye goes there...
but...like symmetry for aligning visual balance, the solution is too obvious, and thus visually "trite"...
The work then...in an image bombarded age lacks real compulsion and power to catch and hold the eye.
It is no longer how realistic an object can be rendered in my opinion that will carry promise to this end...but variation and intrigue, even paradox...
If you consider some of the works of Lipking of late, or Quang Ho...Schmid, you ask yourself, how can an image appear so contemporary, carry so many apparent abstract indicators and yet infuse the essentials of that which is realistic? I say "apparent" because all work is abstract in nature IMO...for good works must have good design which is abstract in nature, but these artists do not labor to diminish and eliminate traces of this abstract presence but actually glory in it...while teasing the eye.
Consider this marvelous work of Richard Schmid's "Adele" ...quite simple...but the unfinished collar, neckline and shoulder only suggested are quite abstract. The undertone or ground allowed to come thru, the smuding and diminished edges compel our eye while leaving us this wonderful sense of the portrait. If you are unfamiliar with Richard Schmid, considered one of our finest living modern masters do check him out!
Or check out this one "Frank's Kitchen" by Quang Ho, or his still life, "Fish on Dish"
Jeremy Lipkin is another...and these artist links are along my side categories listed here in the blog.
These artists are capable of the highest complete refinements...but then, why the tease? Would some say simply too lazy to finish the work???
I would invite you if you have not already, read thru my post below dated, December 28th...my comparison of this approach, the variation...the contrast and compare to that of the women's fashion of the day in the 1920's...
We all come to some inner revelation as to what works and why, and the ladie's fur wrap ought not be inferred to the thinking of the fine artists I have just mentioned. It is my own twisted kind of thinking I'm sure...but is helping to answer my self-arguments.
At any rate...if you scroll down...you'll see the lure, "Creeper" that is vertical...the painting of my granddaughter Ava Dawn..and others, where more and more I am stretching to develop this capability....
I've worked on the idea of lures for sometime now. I've been fascinated with the moment of euphoria, men and women as sportsmen engaging the outdoors, their spirit lifted up, refreshed...filled with anticipation and joy. A whole other area of "Sporting Portraits" was born out of that...which is a whole other area of my artistic life that I share with sportsmen one on one...give them a card with a special online site for them to check out...
but...of that, is the lore..
My younger son now 29 years of age...caught a monster trophy largemouth bass when he was quite young. It was quite a story, and an outdoor television program listed/featured his catch, and we had the bass mounted, kept the lure...and one old polaroid photograph. I decided to set them on my art table...and did a simple painting, a study...of the photo, what was written on it, the lure...etc.,
you can click on the images to see them slightly larger...
thing is, I was already trying to break up the background in this painting, done just a few years ago now. Getting more and more dissatisfied with flawless fill...and you see I've allowed the undertone to come thru to create more interest...
In this "incidental" done sometime in 2006...you see my use of brushwork, hints of color again aiming to create more variation in the background, though the spinner is the focal interest, attempting to diminish edges here and there.
Its funny now that I see it, but many of what I called "incidentals" that is...studies done aside with the idea that they should not define who I was ultimately as an artist...were done with an aim to more and more loosen up, become proficient, efficient, make quicker decisions all the hope to give me greater empowerment outdoors where sunlight comes in a smaller window of opportunity.
I actually thought at the time that this next one was more suggestively painted as an illusion of realism, well...when you compare to my old realistic rendering and laboring, sure...
I was so proud of the smudging of paint that suggested the Boy Scout logo...but still, look at the refinement of the topographical map and the finishing of this small painting top to bottom and side to side...
As fine as I thought this one was, I yet have it...meaning to my thinking it did not capture the mind or interest of viewers enough to buy it.
I mean...selling isn't everything, and my wife probably wishes that I had more interest toward that end actually or at least was more business savvy so-to-speak, but when you think you've done something well and sometimes doesn't sell, you think perhaps you missed the mark of what appeals and catches the eye.
I don't get discouraged by such...but am encouraged then to push, experiment some more.
We live afterall in an image bombarded world, and the eye is attuned to the necessity of wading thru all those images by tuning out, and doing so quite effectively. Part of the painting game is to reflect and develop strategies in our design and composing that would cause a work in this age to command attention and interest. One more thing that makes painting so alluring for me is this undaunting task...
As for the latest lure I'm doing...(the Jack Cobb posted below) not yet satisfied with the background...the lure in actuality is resting on grain of wood. I know without a doubt I can painstakingly represent that wood...
Here...a simple duck call with lovely wood grain...and as an incidental a suggestive effort to so paint the wood.
Thing is, the wood grain, is not the focal point nor interest...and the concept I'm attempting at the moment is how to use negative space as a comparitive note that directs the eye to the lure.
As an empty space...the lure being all there is, naturally the eye goes there...
but...like symmetry for aligning visual balance, the solution is too obvious, and thus visually "trite"...
The work then...in an image bombarded age lacks real compulsion and power to catch and hold the eye.
It is no longer how realistic an object can be rendered in my opinion that will carry promise to this end...but variation and intrigue, even paradox...
If you consider some of the works of Lipking of late, or Quang Ho...Schmid, you ask yourself, how can an image appear so contemporary, carry so many apparent abstract indicators and yet infuse the essentials of that which is realistic? I say "apparent" because all work is abstract in nature IMO...for good works must have good design which is abstract in nature, but these artists do not labor to diminish and eliminate traces of this abstract presence but actually glory in it...while teasing the eye.
Consider this marvelous work of Richard Schmid's "Adele" ...quite simple...but the unfinished collar, neckline and shoulder only suggested are quite abstract. The undertone or ground allowed to come thru, the smuding and diminished edges compel our eye while leaving us this wonderful sense of the portrait. If you are unfamiliar with Richard Schmid, considered one of our finest living modern masters do check him out!
Or check out this one "Frank's Kitchen" by Quang Ho, or his still life, "Fish on Dish"
Jeremy Lipkin is another...and these artist links are along my side categories listed here in the blog.
These artists are capable of the highest complete refinements...but then, why the tease? Would some say simply too lazy to finish the work???
I would invite you if you have not already, read thru my post below dated, December 28th...my comparison of this approach, the variation...the contrast and compare to that of the women's fashion of the day in the 1920's...
We all come to some inner revelation as to what works and why, and the ladie's fur wrap ought not be inferred to the thinking of the fine artists I have just mentioned. It is my own twisted kind of thinking I'm sure...but is helping to answer my self-arguments.
At any rate...if you scroll down...you'll see the lure, "Creeper" that is vertical...the painting of my granddaughter Ava Dawn..and others, where more and more I am stretching to develop this capability....
Monday, January 10, 2011
Jack Cobb...muskie lure, oil....8x10
well...started this one today...could have finished, but did not like how the background has progressed...
I scraped basically all below the lure out...and will try again...looks all too polished right now, has less character...so, wanted to share this one at a stage where I'm wrestling with it...
I scraped basically all below the lure out...and will try again...looks all too polished right now, has less character...so, wanted to share this one at a stage where I'm wrestling with it...
Friday, January 07, 2011
My most Sincere effort to destroy this...successfully. Jack Cobb muskie lure
If you've seen the work of Quang Ho...you will understand when I try and destroy my efforts successfully. His link below and to the side of the artist talent's links posted...
my best attempt yet...and its a bit like trying to reinvent a wheel for myself here...but, its only paint...so push, scrape...smudge away!!!
the close up...should give you some idea of the push, the scrape, the sense of visual urgency I'm striving for...
my best attempt yet...and its a bit like trying to reinvent a wheel for myself here...but, its only paint...so push, scrape...smudge away!!!
the close up...should give you some idea of the push, the scrape, the sense of visual urgency I'm striving for...
Wednesday, January 05, 2011
Last Cranky Nitro...now time to move on...
Wanted to push this one more time, try a bit more controlled chaos...some intriguing color contrasts...but not sure I have destroyed this one enough...guess that ability will strengthen over time...
9"x 12" oil on oil primed linen....
Tuesday, January 04, 2011
New one...Cranky Nitro...pushing the paint...
Trying to push the envelope...painting this after my teaching day today, an hour...and trying to "destroy" the work...in a creative sense. Something Quang Ho...says to aim for, scraping out with paint knife, rebuilding...pushing. Not easy to do...believe me...but something I'm aiming to work for more and more...
check out Quang's work..insanely creative, contemporary...compelling the eye...at once abstract yet at the same time crazy realistic!!!
check out Quang's work..insanely creative, contemporary...compelling the eye...at once abstract yet at the same time crazy realistic!!!
Monday, January 03, 2011
the Cranky Nitro....muskie lure, 12"x 9" oil on Senso linen
Finished another...the "Cranky Nitro"....muskie lure, 12"x 9"
oil on senso linen-
oil on senso linen-
Tuesday, December 28, 2010
Creeper done...some thought/comparisons to the '20's...
Took about ten minutes to paint in the other treble hook, and am satisfied...and now, its time to start another muskie lure...with much lore...
On another online artist's venue, someone comment they liked this work, and how it "looks almost real!"
I smiled at that comment, and gave it more thought... "almost real"...hee hee...I like that, and is more or less the visual tease I'm playing with right now.
After thirty years striving to render and paint realistic, it comes as no surprise to myself I am capable. Perhaps one reason I burned out from the wildife art mandates of the 80's-90's where detail upon detail defined one artist better/superior to another, and for myself it simply meant not more talent, but a labored commitment. The public and marketers touted such as talent...for myself, "well...um, took a lot of time is all!"
But, playin' with areas of the canvas that do not feel real enough as compared to that intentioned ideal focal area I'm coming to believe, keeps the eye entertained, and while not fully 100% convinced...also intrigued. A giving of greater emphasis to the subject comes from such, in the same way perhaps that a bit of color gains power against many neutrals. Henri Matisse once said, " a thimbleful of red is redder than a bucketful."
Then I was thinking, remember back (in the 20's-30's ?) when women used to wear fur stoles around their necks with heads to clamp down on the tail? I heard a funny comment once on that...that by having an animal around their neck, compared to say a monkey or mink, they looked quite pretty!
If we take that possible psychology, then compared to the unfinished areas of a painting, the rendered refined areas appear all that more real...thus, that "almost real" measure.
Here then, would be the animal fur stole of this work-
Which then by comparison...makes this suggestive realism appear all the more the real...
On another online artist's venue, someone comment they liked this work, and how it "looks almost real!"
I smiled at that comment, and gave it more thought... "almost real"...hee hee...I like that, and is more or less the visual tease I'm playing with right now.
After thirty years striving to render and paint realistic, it comes as no surprise to myself I am capable. Perhaps one reason I burned out from the wildife art mandates of the 80's-90's where detail upon detail defined one artist better/superior to another, and for myself it simply meant not more talent, but a labored commitment. The public and marketers touted such as talent...for myself, "well...um, took a lot of time is all!"
But, playin' with areas of the canvas that do not feel real enough as compared to that intentioned ideal focal area I'm coming to believe, keeps the eye entertained, and while not fully 100% convinced...also intrigued. A giving of greater emphasis to the subject comes from such, in the same way perhaps that a bit of color gains power against many neutrals. Henri Matisse once said, " a thimbleful of red is redder than a bucketful."
Then I was thinking, remember back (in the 20's-30's ?) when women used to wear fur stoles around their necks with heads to clamp down on the tail? I heard a funny comment once on that...that by having an animal around their neck, compared to say a monkey or mink, they looked quite pretty!
If we take that possible psychology, then compared to the unfinished areas of a painting, the rendered refined areas appear all that more real...thus, that "almost real" measure.
Here then, would be the animal fur stole of this work-
Which then by comparison...makes this suggestive realism appear all the more the real...
Its also a heck of a lot more fun painting such so much less labored. The use of scrubbing some brushwork in the negative space or background is nearly akin to a street magician's sleight of hand trick. It takes the eyes off the imperfections of pulling off the trick long enough to fully convince the viewer.
Thursday, December 23, 2010
more abstract flair...the "Creeper"
Not wanting to waste what paint was left on my palette...and gone for the break, thought I'd throw some paint on quick here of a vertical...hanging Creeper...
not quite finished...but what additions or tweaks I'll add will be minimal...and hardly noticeable. Not til after break though....thanks for lookin'! Merry Christmas all...
10"x 8"
not quite finished...but what additions or tweaks I'll add will be minimal...and hardly noticeable. Not til after break though....thanks for lookin'! Merry Christmas all...
10"x 8"
Wednesday, December 22, 2010
Playing with some Muskie Lures for awhile..
Living in northern Wisconsin, we have various lores, various characteristics to our local culture, one that is popular is muskie fishing...intimidating voracious predators of our fresh waters...and in experimenting with painterliness...the essential, thought it would be fun as a subject to play with..
This one is called the "Creeper" and makes all sorts of fush, gurgles and sounds as a top water lure.
Just getting this one going tonight following my day of teaching...a bit more to play, color to push, values and accent pops...
8"x 10" oil...
This one is called the "Creeper" and makes all sorts of fush, gurgles and sounds as a top water lure.
Just getting this one going tonight following my day of teaching...a bit more to play, color to push, values and accent pops...
8"x 10" oil...
Wednesday, October 20, 2010
Croal Creek "gestural"...8"x 10"
Gettin' a feel for this, might as well keep the pushin pushin...this one from Sauk County Wisconsin, Croal Creek...using Senso linen...and thus far only 15 minutes of direct expressive laying in of color and value...
This now...is day two, and about a half-hour into it, the Senso natural linen doesn't take much to appear the image is already close to a finishing..and perhaps more than I intended, and YET..the coup de tat or finishing I intend to use a thicker impasto with paint knife...so, yet one more stage...
Here...a closeup of the lower left corner
I included a smaller image here...because from about 20' away from my easel, thought the image already showed promise...
This now...is day two, and about a half-hour into it, the Senso natural linen doesn't take much to appear the image is already close to a finishing..and perhaps more than I intended, and YET..the coup de tat or finishing I intend to use a thicker impasto with paint knife...so, yet one more stage...
Here...a closeup of the lower left corner
Thursday, May 08, 2008
Casein...day two with oils... 6.25" x 10" on wood panel
A bit more time today, bringing the painting along a bit farther
with oils. Again, over a casein reddish underpainting, and
using a split-complementary palette of red, yellow-green
and blue-green...plus white and black.
The mood of the day I'm depicting is more an overcast somewhat
somber day. Neutrals and subtleties have their play. Considering
how reddish undertone wants to excite green, I knew the risk or
challenge to keep things subdued, but electing to have red as the
dominant for the split-comp palette I felt would work to keep
things under control...
Monday, March 24, 2008
Test Run of Amber Medium... Painting of medium cups
I was sent a bottle of amber medium to try out...another hard
resin like copal, but doesn't tack up nearly so quick. Think its
been a good decade since I've used anything other than Garrett's
copal medium.
Was interesting to try it...and impatient and under the weather
on prednisone and antibiotics so I couldn't go outside to paint,
I just set up my medium cups...ironically, the one nearest is
of my copal medium. haaa...
5"x 7" oil
here a closeup, and as always...click on image to see larger
view-
resin like copal, but doesn't tack up nearly so quick. Think its
been a good decade since I've used anything other than Garrett's
copal medium.
Was interesting to try it...and impatient and under the weather
on prednisone and antibiotics so I couldn't go outside to paint,
I just set up my medium cups...ironically, the one nearest is
of my copal medium. haaa...
5"x 7" oil
here a closeup, and as always...click on image to see larger
view-
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