My Painting Process- Current Work 4

Over the past month, I have been sharing with you how I go about creating a painting from beginning to end.  This is the 4th post in this series. 

The piece I have been showing you has now been definitively named "Be Mine."  I sat with this title throughout, and it is the right one.  At this point, the details of the chain, key and heart are to be painted in.  The painting has come together as you see below.

"Be Mine"

 Oil on Canvas

30x40''

Additionally, the collar is to be detailed as shown in the studies below.

(Click on an Image to Enlarge)

Ring Studies (and Detail of Ring Studies)

16x20"

Acrylic Gesso on Canvas

These studies were done using  both black gesso and white gesso, instead of paint.  I found it interesting to work with such a thick and unforgiving medium in this way compared to the oil paint that I am used to.  I will use this ring as the collar on the figure in "Be Mine."

As I look at the painting so far there is something that does not sit right.  I am satisfied with the treatment of the paint, itself, though I am not pleased with the positioning of the figure.  I have some changes in mind that I will share with you this coming week. 

I am also finishing up another painting in this series that I will introduce to you soon, as well. 

Featured Artist Of The Month

From time to time I will feature a living, working artist in these pages.  If you have a suggestion for a future featured artist, please send your nomination by clicking 'comments' below.  This comment will not be posted on the blog, so please include your name and contact information (email) in the comment form and then click "Post Comment."  After you enter a verification code, click "Post Comment," again.
Stay tuned for a featured artist in November. I have found a wonderful series by a painter from Serbia that you really must see!

Frugal Artist Tip: Cleaning Oil Paint Brushes

Ten Easy Steps to Cleaning Oil Paint Brushes

1. Remove excess paint onto palette (if there is a lot) or onto paper or rag. 
2. Dip or swish in very small amount of solvent- I like weber odorless turpenoid. 
3. Wipe on clean part of rag until relatively clean.  Repeat until no color shows on rag. 
4. Now get all the paint out:  Moisten brush with cool or warm water and scrub on a bar of ivory soap    (that's right, "the soap that floats"). 
5. Now scrub the brush around on the palm of your hand, working soap all the way up to the metal ferrule.  You might wear glove or plastic bag to protect from potential paint toxins.
6. Wipe off excess lather on cloth or rag.
7. Rinse with warm water.
8. Repeat steps 6 and 7 until lather no longer shows color.
9. Shake out water and reshape bristles with fingertips.  I've also used a rubber band or plastic twisty-tie to reshape resistant brushes.  Just wrap twistie-tie around bristles when wet- remove when dry.  
10. Let dry on side or in a container bristles up/ handles down. Or hang bristles down.  See Best Way to Dry Brushes here. 

Look at BJ's or other bulk store for the 24-pack of ivory bars.  You will save money on cleaning supplies and keep your brushes in great shape for many years.

If you have a tip to share, please click 'comments' below.

My Painting Process- Current Work 3

The piece of work I have been showing you seemed to be coming along well to this point.  As I mentioned before, all of the elements were, most likely, not yet revealed.  That is, the painting seems to write its own story.  I 'hear' or perceive this narrative as it unfolds and then paint it onto the canvas.  Since I last showed you this, there have been some additions.

(click on image to enlarge)

As you see above, the woman is now wearing a collar that is attached to a chain.  This chain disappears from the scene and reappears.  It then hangs down, drapes over her form, has its length amassed in a pile,  and extends forward under her arm.  At the end of this chain is a key.   We also see that a shadowy figure has arrived and is standing out side of the bars.  Perhaps all of the elements are in place and we have before us the basic structure for this painting. 

I have continued to build upon the color theme by applying more layers.  Also the figure's form is being developed as I tone down the initial underpainting of the flesh. For the flesh tones I found a really nice palette on Matthew Innis' blog: 'Underpaintings; Mattelson Palette'.   In other works in this series, the figure in the painting was placed in a way that I drew from my simple palette for the flesh (prussian blue, cobalt violet, cadmium yellow lemon and titanium white).  In this piece I added a dab of alizarin crimson for the spot of red.  From here I will work out any obvious issues, paint all the pieces in, and add detail and texture.

Stay tuned to see this piece come to completion.

Comments? Click 'comments' below to post.