Yes I'm doing a Jesus portrait. It's a bit different, a compilation painting of many references like the Shroud of Turin www.shroud.com/menu.htm is a good site for all its information. Now this shroud may not be the actual face of Jesus however I think it’s a good representation of a face in that time period. There are references made of that face in 3d done that give you the feel of what I think his face looked like. I have other references like a guy with a beard, now this sounds funny but the facial hair has a growth pattern and I'd like to keep this painting headed I the right direction, if you will.
To begin this painting I started with a linen 16 X 20 and toned it in an orange mix with sienna edges a warm brownish leaving the center more brightly done, The thinking a radiant glow as a base coat if for no other reason to get a good layer of paint as a reflective surface. For this process I used a one inch round long hair brush and quickly mapped in the general shape of the head. So this portrait sort of grew before my eyes painting in eye sockets, line of chin, and forehead and a general outline of the hairline. It was kind of ire doing it that way as this painting as the painted face kind of grew out of the canvas. This painting is important to me on so many levels I did a lot of research before starting it.
That first day I started on his eyes, now this may have been a mistake. I paint eyes fairly well, what I mean is. I paint an eye with the idea in mind that it can see. And you know the paintings that look at you from any angle; well this is one of those. And when the boss is now looking at you, well it makes me bit nervous... grin. Anyway I have a large drawing board on a separate easel for the many faces of Jesus I've gathered from my internet searches. I started a file folder in my Pecasa 3 photo program apply named ‘the face of Jesus’ and simply dumped a couple dozen faces in there for later use. I printed a half dozen or so and subsequently added a few more and also put them on the board.
So anyway this project is well underway and I'll post the painting at next writing should I come close to the outcome I'm looking for. My vision of this painting is a man in his early thirties, a teacher and leader of other men and women. His eyes the most important feature a face which takes up the whole canvas, a statement of the Jesus I think of as mine. We do talk during this process, at least I do, he just looks at me while I paint and so far no lightning has struck me dead so it's going well. And yes I went to church last Sunday... I need all the help I can get on this one...grin.
see ya
haley
Tuesday, July 12, 2011
Tuesday, June 14, 2011
Paint brush
I found a brush on my desk this morning, a No 4 filbert with a rounded tip like a flat only round a nice brush, nice size. It’s a Robert Simmons TT42 and silver handle call Titanium, a synthetic hair that I use with my Aqua Oils. You need synthetics they hold the snap and don’t get mushy as do the natural hair brushes in a water based medium. I like this one a lot.
When I paint I generally use the same brush unless I’m doing something that needs different piles of paint then it’s easier to use several, one for each, esp. when blue is involved. That color stains a brush’s bristles and you really need to flush it with a good cleaner to change colors. Even thou I use a water based paint I do use paint thinner to clean the brushes and do leave them in the thinner overnight and longer. And yes some do bend and I reshape them when cleaning and only through out a couple I’ve ruined due to my poor cleaning habits but, mostly they stay nice and fresh.
My thinking is to keep them wet and they really do get nice and clean at least enough to paint with minimum effort, you just wipe them with a clean rag. Now that is a cloth rag you can get a box of painters rags a good months supply at Home Depot paint department, I’m not a big proponent of paper towels. They just don’t have the feel I like no matter what brand, although they are handy for spills, esp. coffee…
When I paint I generally use the same brush unless I’m doing something that needs different piles of paint then it’s easier to use several, one for each, esp. when blue is involved. That color stains a brush’s bristles and you really need to flush it with a good cleaner to change colors. Even thou I use a water based paint I do use paint thinner to clean the brushes and do leave them in the thinner overnight and longer. And yes some do bend and I reshape them when cleaning and only through out a couple I’ve ruined due to my poor cleaning habits but, mostly they stay nice and fresh.
My thinking is to keep them wet and they really do get nice and clean at least enough to paint with minimum effort, you just wipe them with a clean rag. Now that is a cloth rag you can get a box of painters rags a good months supply at Home Depot paint department, I’m not a big proponent of paper towels. They just don’t have the feel I like no matter what brand, although they are handy for spills, esp. coffee…
Tuesday, June 7, 2011
I can see that the forground should be darker...as forgrounds should be. And a better lightinig scheme would be the front of the shack to be the shadow side altho this is the ref photo lighting I think a little artistic inhancement would have been better... I think I might just do another painting of the same scene and play just a bit with it's mood.
BTW the seagull is an add on... grin/hy
Friday, June 3, 2011
This was the first painting I had a lot of fun with, I actually giggled a few times as I played creating them. Of course they are models you buy at Blick or even a few at Michaels. I'l even bet you can Google them for deliverey right to you door should you not have the time to fool around. I think I should have done just that as I'm not too happy with the stiffness of these two. My idea here is telling him NO basically the gesture fairly evident the body language speaks for it's self
Deb thinks I should do more, one with a top hat and she in a bridal viel but to tell the truth these guys took a while to paint. I'd rather do a comic series with a camera which actually isn't a bad idea, come to think of it. In any case this one was fun to do and is a good study really for real people in your paintings. With the models you cn add a people anytime to one of your landscapes for added interest and adjust the form into a shape that just says something or they are doing and adding motion to your painting.
I added a fisherman to a seascape that is on the boards now in my studio and he really looks like a people fishing grin... the fishing rod had a lot to do with that on and the bait bucket helped give him a foundation. Of course when you do add a people it's what the painting is from then on, The Fisherman" Used to be"by the Sea" hehehe oh well so be it. One note of reasoning,' Monet' added the ladies a lot. Seems People like people in their paintings.
Just a note the painting is better than that photo... I'll look into that one a bit more and get better equiped to shoot my paintings. If you have any suggestions please feel free to comment.
Tuesday, March 15, 2011
Heading to my studio
This is a quick sketch om my grandson Daniel. If I were to do a portrait in oils my first job is to draw the reference photo a few times to get a better feel for features and shapes. You get to know your subject much better and find little things that make him who he is and after all that is what you need capture, a personality as well as a likeness.
The studio is getting full of paintings in every state of finish, my new thing is trying to paint portraits. Now this is a challenging thing for me as I'm a rather rough painter full of texture most of my work. When it comes to smooth surfaces I do have a bit of a problem. I need to practice more and do some work with smoothing the mix and probably using more sable brushes. There are techniques for the under painting like not so much paint and more thinners; I generally do paint what they call... what's the word ala prima? finish the work as you go....Hmmmm
I generally paint to get it down on the canvas then fix it should it need fixing. The interesting thing is with my eye sight problems and the glasses I do get in trouble should I not "step back" and view my work from a distance, The glasses with try focal lenses do distort things a bit and the fact that my left eye is not a player. I have that lazy eye birth defect so I'm a one eyed Jack of a painter.
The funny thing is prospective with only one eye doing all the work. And for a painter some strokes from pallet to the canvas is guesswork. You have a nice full brush of paint on a stick and try to target that spot so carefully and you just don't hit the canvas right sometimes with your first try.... your brush point just gets closer and closer and you finally land somewhere near where you intended... a bit discouraging but you can do this thing, I'd call trial and error...Me thinks more errors but then it's oil paint and you can recover rather well...if you step back and look that is.
When painting you get so involved in the work concentrating on whatever spots you are working you get lost in the work. I did one painting of a clam shack and worked the door to this thing so intently and then stepped back. Well I was surprised to see I left out a corner of the building...Not a big thing and easy to fix but I was fascinated that I did such a thing without realizing what was going on, That doorway problem like the shadows inside the building from the open doorway had my full attention and nothing else existed. Hmmm I should really step back more than I do.
Now this portrait thing is a different story all together. And yes I am reading and doing the work of studying features. I've painted the eye and nose the mouth on practice sheets to get the forms and muscles; all the how to things you should get down before you do a portrait. There is so much to it, the measuring can drive you nuts and that one I'm not very good at. Don't get me wrong I can measure with the best of them, and know that a scale not a ruler is what you measure with. I'd done the drafting bit quite a lot over the years so it's not that type of problem. What is the issue is my style of going for finish rather than plotting and planning to a result. I seem to paint rather directly and get caught up in the details way too quickly in a painting.
I suppose I should develop a technique rather than go along with my "style" of painting. I hate that term and they"the other artist" say I have a distinctive 'style". It means to me that you're not quite up to a level others might be... hmmm. Style is what you want to achieve but it's all about the work and how good it is rather than how stylish it is. I'd rather not have a style per SE but have my work recognized by it's quality. But then I'm learning how to paint and some day might be halfway decent, but in my mind I have along way to go.... so now I head out to the studio....That's not too far....not such a long way that is...
Thursday, August 5, 2010
The blank Canvas
The blank canvas, it's kind of like this page and the inevitable question where do I begin. Hmmm good question. So you are there in front of this white rectangle, most of them are rectangles that is. You have thought about this, it's been rattling around in your head like a marble rolling around kind of aimlessly. You need to put paint on there so how do I begin....
OK most artiest I know use a reference some two like adding a boat to a lake scene from one picture but anyway a reference of what you want to paint. My own references are generally my own photos. You know the type, you shoot a hundred pictures and find one that stands out an kind of says "hey paint me" Well that's all good but how do you start.
To begin I tone the canvas, this means to put a color all over it for the most part to get rid of all that white with nothing on it. You start your painting that way, now I've used many colors and it doesn't matter much to me which I chose. I've used black on some of them which is interesting to paint on, but usually in a landscape I'll use a blue or green mixed with a thinner like Gansoil or Liquin. What you are doing is a thin coating of paint on the entire canvas.
I've read that this step in a painting does have consequences. The base color is a reflective layer some of the thinner paints will kind of bounce off. The light passes through then to the bottom layer and a little is reflected back. Not so much in the case of the blank toned canvas but you do get even that feel to the painting so chose a color that will add or help the overall mood of the picture. The Masters doing a portrait might use green undertones that will give a sort of radiating base color. It's a matter of experience what works better for you and again it tones the canvas so it's no longer white and of course it does give you a better surface to paint on. It fills in the pores of the canvas and is a good starting place.
Many artist will tone their canvas before they begin painting. Now it's nice if this undertone is dry as painting over a wet mix gets a bit tricky; it mixes with the color you are applying which can be a pain. There are wet on wet techniques but that's another topic, so let the toned canvas dry for a few days at least. Now if your smart you'll do a few canvases this way in different undertones then choose later which you'll use for a specific theme. I always intend to do just that but never much accomplish this task. I will tone them but usually just start painting right away, it's one of those personal choices you get to make.
So again you still have a basically blank canvas and a reference photo to paint. This is the point to make a few decisions and the first thing I do is make a sketch of the painting. That means finding a table some place and sitting down with a pencil and an eraser and make a quick sketch of the photo. Here is the beginning of understanding your painting and getting acquainted with what you'll have to do. This planning phase... well is where you can make changes too. It's a design thing, maybe a tree would look better just a little to the left or not even in the painting. You look as you draw this thumbnail sketch for ways to improve the work. After all you are the artist, get to know your subject a little, and as you draw see what you feel about the work also.
A good painting will hit you, it will grab your attention and pull you into the painting by things like a bright color for instance or a pathway bringing you into the painting. something about the work attracted you in the first place to try this particular painting so at this point get this in your sketch. You need to find out the why of this particular painting, why paint it in the first place. Make a statement and wright it on the sketch, you might title the piece to kind of guide you as you paint, a theme that will motivate you. For example I did a fog painting, an early morning scene, like before the sunrise. The landscape full of distant fog and trees a slowett the mood quiet and silent, the grass wet and cold as I ran around taking photos that morning. I had the mood of the piece by personal experience of the painting so I knew where I was going before the brush hit the canvas.
Now you might not have an on the spot experience of your reference but you can look into the photo and find what you want to say. In my case this fog bit was my motivator and yours could be a bright sunshine or moonscape but get a feel for the subject and the why you think it would work. It's kind of important to try and get this inspiration down and keep reminding yourself as you paint what you are trying to do, I know when your are into a painting you can get sort of lost and forget where your are going with this mess of paint your trying to pull together into something worthwhile. So the sketch and thinking process will work out for you rather well. Getting some finer points also helps you understand and see things better too.
Doing a drawing you'll find out how to draw whatever you going to paint. It helps me lots finding out the little things in a lighthouse for instance. You can do silly things like counting how many railing post there are, it brings it to your attention before you start painting them; once you start painting that is. The other and most important reason for a drawing is light and dark areas, their shapes and the value study. Where is the light coming from, a big thing to know, the direction of shadows is another thing to study before you get going. the sketch answers many questions and gives you answers or at least gives you a place to start.
Once you are happy with what to do and the ever important why paint it, the canvas toned you start with some shapes. The darks first, nothing fancy just areas in the drawing you can build upon later with colors. Like a tree for example you will layer in starting with dark greens for the under or inside of the tree and midtone and lights over that darkness. Start there, get the darks in and I'd go home and let it dry a bit. Hell if nothing else you got rid of that white canvis and now know what you are going to do with it and why. Now the fun begins, and a fresh start another day will help and one thing; put the thumbnail on the easel. Glance at it once in a while, you'll probably change things a bit but then that's the fun of it.
see ya
Dave
OK most artiest I know use a reference some two like adding a boat to a lake scene from one picture but anyway a reference of what you want to paint. My own references are generally my own photos. You know the type, you shoot a hundred pictures and find one that stands out an kind of says "hey paint me" Well that's all good but how do you start.
To begin I tone the canvas, this means to put a color all over it for the most part to get rid of all that white with nothing on it. You start your painting that way, now I've used many colors and it doesn't matter much to me which I chose. I've used black on some of them which is interesting to paint on, but usually in a landscape I'll use a blue or green mixed with a thinner like Gansoil or Liquin. What you are doing is a thin coating of paint on the entire canvas.
I've read that this step in a painting does have consequences. The base color is a reflective layer some of the thinner paints will kind of bounce off. The light passes through then to the bottom layer and a little is reflected back. Not so much in the case of the blank toned canvas but you do get even that feel to the painting so chose a color that will add or help the overall mood of the picture. The Masters doing a portrait might use green undertones that will give a sort of radiating base color. It's a matter of experience what works better for you and again it tones the canvas so it's no longer white and of course it does give you a better surface to paint on. It fills in the pores of the canvas and is a good starting place.
Many artist will tone their canvas before they begin painting. Now it's nice if this undertone is dry as painting over a wet mix gets a bit tricky; it mixes with the color you are applying which can be a pain. There are wet on wet techniques but that's another topic, so let the toned canvas dry for a few days at least. Now if your smart you'll do a few canvases this way in different undertones then choose later which you'll use for a specific theme. I always intend to do just that but never much accomplish this task. I will tone them but usually just start painting right away, it's one of those personal choices you get to make.
So again you still have a basically blank canvas and a reference photo to paint. This is the point to make a few decisions and the first thing I do is make a sketch of the painting. That means finding a table some place and sitting down with a pencil and an eraser and make a quick sketch of the photo. Here is the beginning of understanding your painting and getting acquainted with what you'll have to do. This planning phase... well is where you can make changes too. It's a design thing, maybe a tree would look better just a little to the left or not even in the painting. You look as you draw this thumbnail sketch for ways to improve the work. After all you are the artist, get to know your subject a little, and as you draw see what you feel about the work also.
A good painting will hit you, it will grab your attention and pull you into the painting by things like a bright color for instance or a pathway bringing you into the painting. something about the work attracted you in the first place to try this particular painting so at this point get this in your sketch. You need to find out the why of this particular painting, why paint it in the first place. Make a statement and wright it on the sketch, you might title the piece to kind of guide you as you paint, a theme that will motivate you. For example I did a fog painting, an early morning scene, like before the sunrise. The landscape full of distant fog and trees a slowett the mood quiet and silent, the grass wet and cold as I ran around taking photos that morning. I had the mood of the piece by personal experience of the painting so I knew where I was going before the brush hit the canvas.
Now you might not have an on the spot experience of your reference but you can look into the photo and find what you want to say. In my case this fog bit was my motivator and yours could be a bright sunshine or moonscape but get a feel for the subject and the why you think it would work. It's kind of important to try and get this inspiration down and keep reminding yourself as you paint what you are trying to do, I know when your are into a painting you can get sort of lost and forget where your are going with this mess of paint your trying to pull together into something worthwhile. So the sketch and thinking process will work out for you rather well. Getting some finer points also helps you understand and see things better too.
Doing a drawing you'll find out how to draw whatever you going to paint. It helps me lots finding out the little things in a lighthouse for instance. You can do silly things like counting how many railing post there are, it brings it to your attention before you start painting them; once you start painting that is. The other and most important reason for a drawing is light and dark areas, their shapes and the value study. Where is the light coming from, a big thing to know, the direction of shadows is another thing to study before you get going. the sketch answers many questions and gives you answers or at least gives you a place to start.
Once you are happy with what to do and the ever important why paint it, the canvas toned you start with some shapes. The darks first, nothing fancy just areas in the drawing you can build upon later with colors. Like a tree for example you will layer in starting with dark greens for the under or inside of the tree and midtone and lights over that darkness. Start there, get the darks in and I'd go home and let it dry a bit. Hell if nothing else you got rid of that white canvis and now know what you are going to do with it and why. Now the fun begins, and a fresh start another day will help and one thing; put the thumbnail on the easel. Glance at it once in a while, you'll probably change things a bit but then that's the fun of it.
see ya
Dave
Monday, August 2, 2010
Art in oils; getting started when you retire
OK so you are on the street, you've got nothing to do. You try that gym you promised yourself for years to go to and it gets old real fast. The young kids mostly women getting out of the house and not many people your age but there is an old timers group and you're not interested at all so that one falls by the way side real soon. So what's next all those little projects that have crept into the household? You do one or two and there are so many more to do and always changes you want to make but the hell with that after a while. You need something to do that has some challenge.
Yep been there and when they had enough of me they put together a package and out the door I went without not so much as a thank you for all those years. So what? Happens all the time and you've seen it many times but to the other guys not you. You're too important to the company, well it happens you're not that important anymore. It's an interesting feeling like the tube just turned off and nothing you can do but walk away with your little box of junk.
Now what? Well for me I found something that has worked out rather well. It's a place to go everyday and there are nice people there; the art studio. This new thing is challenging even if you're good at drawing a straight line there is so much to know. You have to study this stuff and learn new things but best of all you have to produce something while you're at it.
Painting in oils is hard to do, sounds like a sixties song doesn't it. but man is is hard for me but that's the beauty of it, if it were easy then why bother. So I took a class in the local art studio, it's a little town bunch run by a great lady who works hard keeping the ball rolling. There are classes of a dozen or so people painting and learning how to paint, some good some real beginners like me who never held a paint brush before.
So you walk in the door just inquiring and finding out if there is an opening and there is. Tuesdays from 12:30 to 3:00...sure I can do that, why not give it a try. I had to buy charcoal sticks and a drawing board some erasers and some this or that. I hit the art store, spent a few bucks and got good stuff, yep Blick art supplies is the joint to go to. Been there many times since and even got one of those little key chain things too like for Dominic's or Jewel's.
Thus I began my study of art the next Tuesday, my pencil box full of charcoal sticks that snap like a pretzel should you bear down too hard. They put me on a little stool that held my drawing board showed me how to tone the paper and set up a model a statue of a naked lady no less. Hmmmm me thinks this might be embarrassing drawing boobs with a room full of ladies and oh yes there was one other guy painting and kind of smiling. I think he's been here drawing these same curves and shapes and thinking did I draw these things too big? Hmmm what did I get myself into.
OK I'm here, so draw the damn thing. I grabbed a piece of charcoal and hit the paper with it, Just a body no head no arms just a form but its at an odd angle. Ok so get the angle right measure it, transfer it to paper just a line. Then another angle, Hmm she showed me how to measure the figure... what did she say? Ok keep going. proportions, fit the paper just right and draw what you see. Well I did that one in two sessions and it came out kind of good, at least the instructor didn't make too many corrections. It actually did come out not too bad and they all kind of looked at me as the drawing had a little something. Hmm I guess I can do this and they seem to like the result.
That's how it started out for me, nervous as hell and embarrassed as hell too at the same time. Interesting, should I continue? and I did with a face this time another charcoal sketch some Greek God with lots of curly hair and blank eyes kind of spooky. This time less embarrassed I smudged the charcoal with little points of rolled paper a smudge stick I think they call it. I found the eraser worked well too and I found I drew with that as much as with the charcoal stick. Tools I love tools to play with, used to be a carpenter and the job I'd build machines so tools are no problem, the hands were always my best asset.
Toward the end of my first eight week class I got to paint at the easel like the big kids. A color chart was first, I had to mix the primary colors the red blue and yellow to make the secondary colors and that was cool. Little circles of paint, now the secondaries like half way between the primaries and two more dots half again the color, that was interesting. When I finished I just had to put in two eyes and a smiley face on the yellow dot... it just needed that little touch. I'm not so sure the instructor had a sense of humor... but then I did and I really didn't care much what the instructor thought, I had fun with it.
Next came a blank canvas my first, I had a reference photo from the Internet a bunch of floats hanging on a wall. These floats of many shapes and sizes were on a net and the wall shingled adding texture to the painting. Man I could have found something easier to do but then it's the difficulty that your are challenged with; it's how you learn. The best part is when you screw up you just paint over it and try again, now this I can get into. Right up my ally painting, man this stuff is hard to do. But giving it a try, working out the problems the drawing only this time with a brush...
That was the first class and I've had a few others, finally choosing the director as my instructor of choice. Today I rent a studio spot and paint mostly every day. I don't take classes anymore but do go to demonstrations and attend workshops put on by the studio. I find that my style is that I learn on my own and just try things that interest me. I read and buy the books on Amazon sometimes new but used if too expensive. It's been almost two years learning how to paint and I think I'm getting the hang of it but still a long way to go.
You can see my stuff on the following web site: www.yessy.com/twohaleys
I'll be back soon with other stories on Art and painting I'd like to share soon. I'll try one a week just to keep my hand in and try to give you a feel for the art world that I know. I've sold four paintings so far one in a show we had with the Barring Cultural Art Center. the others more word of mouth than anything but two through the web site. I think I've found my new venture a rewarding one and something I can do that interest me a lot. I'd highly recommend this one although rather difficult to do it's a thing you develop over time. You learn quite a lot and the history bit is fascinating should you study the masters. I have studied just one so far; Monet his story is cool his struggle quite interesting. I painted an impression of his "in the garden" for my wife's mother and she loves it. So there are many avenues and paths to follow with painting be it oils or water color and or pastels either discipline will challenge you and drive you a bit nuts too. But then aren't the Artist there already?
See Ya
Dave
Yep been there and when they had enough of me they put together a package and out the door I went without not so much as a thank you for all those years. So what? Happens all the time and you've seen it many times but to the other guys not you. You're too important to the company, well it happens you're not that important anymore. It's an interesting feeling like the tube just turned off and nothing you can do but walk away with your little box of junk.
Now what? Well for me I found something that has worked out rather well. It's a place to go everyday and there are nice people there; the art studio. This new thing is challenging even if you're good at drawing a straight line there is so much to know. You have to study this stuff and learn new things but best of all you have to produce something while you're at it.
Painting in oils is hard to do, sounds like a sixties song doesn't it. but man is is hard for me but that's the beauty of it, if it were easy then why bother. So I took a class in the local art studio, it's a little town bunch run by a great lady who works hard keeping the ball rolling. There are classes of a dozen or so people painting and learning how to paint, some good some real beginners like me who never held a paint brush before.
So you walk in the door just inquiring and finding out if there is an opening and there is. Tuesdays from 12:30 to 3:00...sure I can do that, why not give it a try. I had to buy charcoal sticks and a drawing board some erasers and some this or that. I hit the art store, spent a few bucks and got good stuff, yep Blick art supplies is the joint to go to. Been there many times since and even got one of those little key chain things too like for Dominic's or Jewel's.
Thus I began my study of art the next Tuesday, my pencil box full of charcoal sticks that snap like a pretzel should you bear down too hard. They put me on a little stool that held my drawing board showed me how to tone the paper and set up a model a statue of a naked lady no less. Hmmmm me thinks this might be embarrassing drawing boobs with a room full of ladies and oh yes there was one other guy painting and kind of smiling. I think he's been here drawing these same curves and shapes and thinking did I draw these things too big? Hmmm what did I get myself into.
OK I'm here, so draw the damn thing. I grabbed a piece of charcoal and hit the paper with it, Just a body no head no arms just a form but its at an odd angle. Ok so get the angle right measure it, transfer it to paper just a line. Then another angle, Hmm she showed me how to measure the figure... what did she say? Ok keep going. proportions, fit the paper just right and draw what you see. Well I did that one in two sessions and it came out kind of good, at least the instructor didn't make too many corrections. It actually did come out not too bad and they all kind of looked at me as the drawing had a little something. Hmm I guess I can do this and they seem to like the result.
That's how it started out for me, nervous as hell and embarrassed as hell too at the same time. Interesting, should I continue? and I did with a face this time another charcoal sketch some Greek God with lots of curly hair and blank eyes kind of spooky. This time less embarrassed I smudged the charcoal with little points of rolled paper a smudge stick I think they call it. I found the eraser worked well too and I found I drew with that as much as with the charcoal stick. Tools I love tools to play with, used to be a carpenter and the job I'd build machines so tools are no problem, the hands were always my best asset.
Toward the end of my first eight week class I got to paint at the easel like the big kids. A color chart was first, I had to mix the primary colors the red blue and yellow to make the secondary colors and that was cool. Little circles of paint, now the secondaries like half way between the primaries and two more dots half again the color, that was interesting. When I finished I just had to put in two eyes and a smiley face on the yellow dot... it just needed that little touch. I'm not so sure the instructor had a sense of humor... but then I did and I really didn't care much what the instructor thought, I had fun with it.
Next came a blank canvas my first, I had a reference photo from the Internet a bunch of floats hanging on a wall. These floats of many shapes and sizes were on a net and the wall shingled adding texture to the painting. Man I could have found something easier to do but then it's the difficulty that your are challenged with; it's how you learn. The best part is when you screw up you just paint over it and try again, now this I can get into. Right up my ally painting, man this stuff is hard to do. But giving it a try, working out the problems the drawing only this time with a brush...
That was the first class and I've had a few others, finally choosing the director as my instructor of choice. Today I rent a studio spot and paint mostly every day. I don't take classes anymore but do go to demonstrations and attend workshops put on by the studio. I find that my style is that I learn on my own and just try things that interest me. I read and buy the books on Amazon sometimes new but used if too expensive. It's been almost two years learning how to paint and I think I'm getting the hang of it but still a long way to go.
You can see my stuff on the following web site: www.yessy.com/twohaleys
I'll be back soon with other stories on Art and painting I'd like to share soon. I'll try one a week just to keep my hand in and try to give you a feel for the art world that I know. I've sold four paintings so far one in a show we had with the Barring Cultural Art Center. the others more word of mouth than anything but two through the web site. I think I've found my new venture a rewarding one and something I can do that interest me a lot. I'd highly recommend this one although rather difficult to do it's a thing you develop over time. You learn quite a lot and the history bit is fascinating should you study the masters. I have studied just one so far; Monet his story is cool his struggle quite interesting. I painted an impression of his "in the garden" for my wife's mother and she loves it. So there are many avenues and paths to follow with painting be it oils or water color and or pastels either discipline will challenge you and drive you a bit nuts too. But then aren't the Artist there already?
See Ya
Dave
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