Painting Number 4

A little behind the scenes note on this painting, it is a REALLY hard painting to photograph.  I used pure white for the background - (click here if you'd like to see a close-up of the white impasto on my facebook page) and when the image is exposed for pure white the color fades away.  This isn't the best reproduction of it, but there will be a better reproduction of it on my website in early June.  Just a note - this painting was painted using only three colors, plus black and white.   Can anyone guess which colors - here's a hint, they're made by Lukas. . .

Painting Number 3

Here is the 3rd painting - and yes, there is a purpose to the order.  (Title Hint: the painting may illustrate more than one element or principle. . .)

Painting Number 2

There will be an online link to the steps used to create this painting in the Artist's Magazine article next month.

A New Series of Paintings

In a couple of weeks the next edition of The Artist's Magazine will include a series of paintings I did.  The theme of the paintings is "The Fundamental Elements and Principles of Design."  Elements of design are the building blocks of any visual imagery.  The successful use, and combination, of these elements will display certain principles of design.  In these paintings there is a central figure who represents "art".  She illustrates each element and principle of design in each painting.

I'll post these images until the release of the magazine. . . without titles.  See if you can guess what element or principle the painting is describing.  The first one is pretty easy. . .

Michael - Final Step

"Michael" • 12" x 16" • Oil on Panel

Some notes about the final layers:  Sometimes I like to paint final layers after oiling-in the surface of the painting - this allows me to see the real values of the dried paint and also "melts" the brush strokes into the painting.  At this stage I added a few directional strokes to the background - to liven up the surface.  I also painted the hair, added the highlights on the front of the sweater and signed it.  The hardest part was probably painting the tromp l'oeil frame around the painting at the end.  (just kidding. . . . . it wasn't that hard - -just kidding, that frame is real.) 

Michael - Step 7

The jagged strip of white on the sleeve in step 5 wasn't terribly descriptive, so I added more light strokes to indicate the turn of the sleeve.  I also painted in more of the dark sweater over the initial tone in back of the arm and brought it around the front of the shoulder/sleeve.  The background needed a smidge of softening around the face - so that ancillary contrast didn't distract from the face.

Up Next - Completion

Michael - Step 6

Refinements . . .. Some edges needed softening - like on the forehead - while some needed sharpening or changing - such as around the eyes and mouth.  The missing nostril wandered back into place and some additional cool highlights were added to the background.

Up Next . . . The shirt and sweater.