Tuesday Model Session: Study of Bilge, Session 1

This is the first 3-hour session of my drawing of Bilge. The lower drawing is my initial block-in stage, and the top drawing is the more refined stage of the same drawing. This will be a 4-session drawing. The original is about 18x24 inches.

Tuesday Model Session: Study of Terry

This is the final drawing and also the earlier block-in stage of my 4-session drawing of Terry. The drawing is done in General's charcoal pencil and General's "white charcoal" on toned paper. The original is about 16 x 20 inches.

Women Painting Women SHOW at Robert Lang

Women Painting Women
Robert Lange Studios
http://www.robertlangestudios.com/
November 2010
2 Queen Street
Charleston, SC 29401
Opening Nov 5, 5:30-8:30 pm

Last year I started a blog called WomenPaintingWomen.com where I highlight the work of  living, realist women painters who use the female subject in their paintings.

Amazingly the blog became much more than I had ever imagined, and I soon invited my artist friends Diane Feissel and Alia El-Bermani to help me manage the flood of incredible artists who were being nominated for the site.

We now have almost 300 artists represented, we have started a FaceBook page for fans of WPW, and we are planning ways to expand the concept to find new ways to support and highlight the work of contemporary women artists.

Earlier this year I was contacted by the Robert Lange Gallery in Charleston, SC, who decided to organize a juried exhibition inspired by the theme of my blog. As you can imagine I was thrilled, and even more so when my piece "Mary with Silver Dish" was accepted into the show.

The exhibition will showcase the work of almost 50 women artists. I will be at the November 5th opening at Robert Lange, I hope you can join us, 5:30-8:30pm.

The list of all participants is on the gallery's blog.

There is also a writeup on the show in the Charleston City Paper

In addition, Alia, Diane and I have organized with several artist friends to rent a beach house together on Sullivan's Island, just off of Charleston, to coincide with the show. A dozen of us will be painting together in the beautiful landscape for the week of November 5-12. I'll be blogging the trip near-daily I am sure, so you can follow along with our adventures. These are the 12 women who will be painting at Sullivan's Island:

Alexandra Tyng - Narberth, PA

Catherine Prescott - Harrisburg, PA

Cindy Procious - Chattanooga, TN

Diane Feissel - Philadelphia, PA

Linda Tracey Brandon - Phoenix, AZ

Lisa Gloria - Aurora, IL

Mia Bergeron - Chattanooga, TN

Rachel Constantine - Philadelphia, PA

Sadie Valeri - San Francisco, CA

Stefani Tewes - Laguna Beach, CA

Katherine Stone - Toronto, Ontario

Alia El-Bermani - Cary, NC

It's an incredible group of artists and I am sure we will all be inspired by one another!

I am amazed and touched by how my initial idea has sparked a growing movement, and I'm looking forward to seeing how Women Painting Women will continue to evolve.

Finally, in a serendipitous twist, M Gallery where I show my work in Florida has recently moved to Charleston, and my ARC award-winning painting "Bottle Collection" will be on display, including others soon. I'm excited I'll be able to visit M Gallery's new location in person when I visit Charleston in November!

M Gallery
http://www.mgalleryoffineart.com/
11 Broad Street
Charleston, SC

Women Painting Women

Robert Lange Studios

http://www.robertlangestudios.com/

November 2010

2 Queen Street

Charleston, SC 29401

Opening Nov 5, 5:30-8:30 pm

"Message in a Bottle" Session 7

8 x 10 inches

oil on panel

work in progress

see the previous post here

You'll have to compare this very closely to the previous version to see the changes, but this step represents several more hours of work.

From here on out, the steps between stages will be incremental, hardly even noticeable in the photos posted here. But I'll try to post close-ups and describe what I am doing as much as possible.

"Message in a Bottle" Session 6: Beginning Color

8 x 10 inches

oil on panel

work in progress

See the previous post here

Even though I have begun color at this stage, I am still thinking of it as under-painting. In fact, the more I develop as a painter, the more I find that most of my time spent on a painting is "underpainting" - preparing the bed of values and hues the final painting will lay over.

So here I am mixing my values with colored pigment instead of just grey. I'm also just starting to warm up the colors of the shell, message paper and tissue.

Finally, I am adding a new level of refinement and detail as I make my first pass of color.

"Black Jug" Session 6: Beginning Color

8 x 10 inches

oil on panel

work in progress

see previous post

You might not be able to see much "color" in this stage of the painting versus the previous monochromatic underpainting stage. But now I am mixing my neutrals values with a palette of color, instead of just grays.

The main difference between painting with monochromatic values and painting is color is in the transitions between light and shadow. In monochrome, you can just mix a bit of the 'light" puddle with a bit of the "shadow" puddle to make the halftone between.

When painting in color, the "halftones" is where all the most saturated color is. So each step between the light and shadow must be analyzed and mixed to match a hue/color, in addition to the value. This is very subtle when painting a monochromatic subject in color, because all the hues are relatively desaturated. But it's what makes even a monochromatic subject look like it is "in color".

Also, even in sharp edges, like where the edges of the white seashell touch the black background of the pot, the paint will look chalky and clunky. The tiny seam where the white meets the black must be knit together with a deeply saturated, dark orange or red. Otherwise the white seashell will look like a cookie-cutter shape pasted over the background, instead of a believable object sharing the same reality as the jug.

To do this, I use a small brush to push rich, saturated mixtures into the edges of the shell, and then back-fill the seashell with white, leaving a tiny thread of color between the light edge and the black background.

Since this technique is subtle and microscopic, it's impossible to see the effect in this photo. But careful attention to the reality of the edges will make the painting look believable in person.

"Message in a Bottle" Session 5: Monochromatic Underpainting

8 x 10 inches

oil on panel

work in progress

see the previous post here

"Black Jug" Session 5: Monochromatic Underpainting

8 x 10 inches

oil on panel

work in progress

see previous post

"Message in a Bottle" Session 4: Umber Underpainting

8 x 10 inches

oil on panel

work in progress

see previous post

"Black Jug" Session 4: Umber Underpainting

8 x 10 inches

oil on panel

work in progress

see previous post here

"Message in a Bottle" Session 2 & 3: Drawing & Transfer

8x10 inches

graphite on gessoed panel

work in progress

see previous post here

After I transfer the drawing to the panel I spend more time-drawing every line from life and refining it to the highest degree possible. The more details I work out here, the less problems I will have to solve in paint. The traced image always deadens, so I never just go from traced transfer directly to paint.

"Black Jug" Session 2 & 3: Drawing & Transfer to Panel

8 x 10 inches

graphite on gessoed panel

work in progress

see previous post here

I completed my drawing on trace paper/mylar. I ended up drawing the spiney seashell on another piece of trace overlaying the drawing of the pot. Then I scribbled with a soft 4B pencil on the back of the paper, and transferred the drawing to panel by tracing over it with a hard pencil. I spent a lot of time lining up everything so the horizon line of the shelf is straight and the vertical access of the jug is truly plumb. Any error in this image is due to photo warping.