Wednesday, November 10, 2010
Wednesday, August 18, 2010
Summer is flying by. Been busy working with type but I'm still landscape painting everyday at lunch. Will hopefully post some soon. I feel like I'm making some real progress with color and value. Looking forward to Mike Hernandez's landscape painting workshop this weekend. The ad below was based on an outdoor design they did previously, It was a fun challenge organizing the quotes to read cleanly and still stay true to the fun look. I'm really happy with how the campaign turned out.
Tuesday, June 29, 2010
There really is no cheating in drawing or painting but I made a little "cheat sheet" for lack of a better word of some ideas that have really helped me over the last year or so. Just got around to updating it with some new stuff and thought I'd share. When I organize the information I find I retain it better. I learned most of this from classes from Rad Sechrist, Jackson Sze, Marshall Vandruff, Bill Perkins and Walt Stanfield's notes.
Tuesday, June 22, 2010
Haven't been figure drawing in awhile so I headed to Bob Kato's Drawing Club last Thursday. Just got around to posting. The theme was Red Sonja. One of my instructors from the Academy recommended the model. She has posed for Boris Vallejo and looked like she stepped right out of a Frazetta painting. These drawings are ok. I think the foreshortening on the second drawing could be better. I also kept running off the page - and didn't get the full figure in - not getting the grounding leg in the second drawing is a big no no. Although I would argue her balance was resting more forward. Excuses Excuses. Note to self ... need to do more hand and leg studies.
Monday, June 14, 2010
Sunday, May 23, 2010
A few paintings I did this week. I feel like I gained some ground this week thanks to Bill Perkin's workshop. Specifically the concept of Notan - I already was familiar with the concept of ying/yang - black and white patterns to form a value structure but I never had a formal name for it. Sometimes something just needs a name to be fully understood. It cleared up my struggle with separating local color value from chiaroscuro. I also start each painting now with some thumbnails ... sometimes just one is all I need to map out the composition and the notan/chiaroscuro pattern. It's my road map. I recognize now that every painting that has fallen apart on me in the past was because I didn't have a clear value pattern and road map. The notan/chiaroscuro value matrix provides a visual unity to the image and cuts through the chaos. Just jumping into a painting and hoping for the best doesn't work... sure you get lucky once in a while and it comes together magically. But there's nothing magical about painting ... its planning, planning, planning!
My value pattern changed mid-way through the second painting as that bar of light moved over and hit the tree. I liked it better that way so I changed my plan. The great part about doing these thumbnails on sticky notes is you can stick it to your palette or on the edge of your block and refer to it if you get lost.
Wednesday, May 12, 2010
Still working in limited palette. I'm practically dying wanting to use some beautiful bright greens but still not ready to move on to a full palette yet. Did this one during one of my lunch time paintings of the Burbank hills. Been struggling with these lately but was excited with this one. Loved how the dark clouds were moving over from the right and how you could see warm light bouncing off the ground and back up at the bottom of the clouds.
Did this one over the weekend from my backyard. Need to work more on my shape design but I'm pleased with how I'm simplifying groups of shapes and creating depth with foreground/background elements.
I'm currently reading Richard Schmid's Alla Prima book. It's been helping me a lot. He talks about how Value, color and edges are inter-related - that one will inform the other. For example - that the sharper edges are usually also areas of biggest value contrast. This was a big mind-opener for me that I don't have to concentrate on each individual element, that I can find one and it will inform the other. He also talks about how painting evolved from the idea where you had to know what you were painting to paint it to painting something based on its appearance - concentrating not on what you are painting but the abstract shapes, colors and edges that make the form. It has allowed me to let go of my assumptions of what I think something is and focus simple shapes, colors ect. Also squinting to see edges as well as values has been really useful.
Looking forward to taking a painting workshop with Bill Perkins this weekend and learning more.
Tuesday, May 4, 2010
Been doing a lot a painting, finally got around to posting. These are all limited palette. Want to keep it simple and focus on the basics. Just using alzarin crimson, ultramarine blue, yellow ochre watercolor with titanium white gouache for tinting.
Monday, April 12, 2010
Sunday, February 28, 2010
I love Hitchcock's sense of composition, very dynamic. I read that he actually painted shadows on the walls and floor for better compositions. I did a few studies of some of my favorites.
I love how the Golden Gate bridge points to Kim Novak like a dagger. The clouds above her head reflects her emotional turmoil.
Strangers on a train
Went a little looser on this - I haven't seen North by Northwest in a while but just by looking at the image I know it was a moment in the film where Carey Grant felt trapped or conflicted just by the design of the shot. Love how the shadows of trees point back to him. I think this is an instance of Hitchcock painting shadows as they didn't make sense based on the light source.
Wednesday, February 17, 2010
Had a little down time before lunch and started playing around in illustrator. Had this composition in mind and wanted to play around with the idea of a simple 3 value pattern. Also playing with the idea of creating fo cal point with value and temperature and the idea of including transition.