Portrait Study

I love doing these!   A 20 x 16″ oil study, done as the first exercise in my portrait class. Starting with the biggest color masses of background, a general flesh tone, and hair, I worked towards the smaller masses, using the largest brushes possible, solid painting, and avoiding details of the features. DSC_0042

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The whole idea is to teach oneself to work from the general to the specific. The neutral gray background and black outfit give a value range against which the flesh tones can be measured.  It’s a great way to appreciate how much the likeness is in the greater shapes.

A pastel setup for travel sketching

One of my favorite Renoir quotes is “Make much out of little”.  It’s a good aphorism for artists, and flows into a lot of our activities.  In planning for upcoming trips, I wanted to pull together an absolute minimal, trouble free pastel setup to carry around with me as I travel.

Taking this old Schmincke box, I spent an hour or two customizing it for my backpack.  It’ll be carrying a selection that’s designed for making general color and value statements only.

DSC_0038The box measures  4 ” x 11 “, and is about 2″ deep.  I’ve decided to put in some  simple dividers to create five divisions.  The original clasp on this box works well, which is something to test before starting.

I cut some thin poplar scraps into 3/4” wide strips that fit  snugly into two grooves I carved into the walls of the box. Scoring the wood with a boxcutter was all that was necessary to create the strips.

DSC_0040I then carved some grooves into these to acommodate the smaller vertical separators.

DSC_0041After carefully dry-fitting the pieces for a good fit, I glued the horizontals into place with some carpenter’s wood glue and clamp for a bit.

DSC_0042After dropping in the vertical pieces with a spot of glue, I cut an old piece of chamois to fit the top of the box.  This will serve a couple purposes; as a bit of padding, a palette for pieces I’m using while painting,  and as a cleaning and erasing rag.

DSC_0043Cleaning the pastel sticks in a bag of uncooked rice.  I then select just enough colors to meet my needs, plus a range of grays, and include a black and a brown sharpened Cont’e crayon. The small, broken pieces from other sets are fine for this purpose.

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And  I’m ready to roll now.

Morning in my studio

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7:00 AM,  Iris and Erik are out the door. I stroll into the place that much of my life revolves around physically, wearing whatever I was wearing when I went to bed last night. I’ve finished my morning reading and prayers and a bit of yoga, and  planned the day. It’s varnishing and framing today, and hopefully I’ll have time to work on something new outdoors, a sketch at least. We’ll see; it never ends up like you think.

An Inspired Eye

I’ve been working hard getting about ten pieces ready for a show opening in a couple weeks. This is the largest piece by far…Summer Storm, 40 x 50″ oil.  It’s gone through it’s share of changes, and I’m looking forward to finally fitting it into it’s frame and seeing it up.  It does have a bit of a presence.

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The rest of the show are pieces from the last few months, and include one pastel figure and a drawing to boot.  I include the figure pieces because I like the look and feel of them, and  to remind people that understandably regard me as mostly a painter of the ocean that I love to draw and paint the figure as well.

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Kewalo Basin Morning 600

I also just finished this small (12 x 16″) harbor piece that I think  is effective.  And I have a perfect frame for it.

More later!

3/14/11 Making Every Moment Count

We just missed a tsunami here in Hawai’i last week. Four days ago at 3:00 AM nobody this side of heaven knew what the sunrise would bring. Believe me when I say that the footage from Japan made an especially heavy impression here, seeing how Hawai’i might be the next stop for this rolling disaster.

As we’ve since learned, no damage was suffered here in terms of human life from the threat, for which we are grateful. Not much happened in the larger scheme. Yet astonishingly, but not really surprisingly, I see how quickly I and others have pretty much put it all aside now. It’s faded into the rear view mirror. We’re now back to normal, dealing with the personal  and everyday struggles that occupied us before this schism. And it bothers me to see this in myself, because our safety was like a coin-toss only short days ago; visions of food shortages and cholera outbreaks passed through my mind that night. I don’t think it’s wise on my part to allow this sort of wake up call to be forgotten.

Life is a gift, not an entitlement.

There are a lot of things that I’m reconsidering in light of the ongoing disaster in Japan and near-disaster in Hawai’i. One’s real beliefs expose themselves quickly when you suddenly realize everything may permanently change within the next hour.  A big threat becomes a big mirror to what you’ve been believing in secret your whole life.

I see that my life, in a sense, has always been lived on borrowed time. Because of my faith, I do have the real sense that I’m not going through anything alone, but I also know many people who have no such perspective. Perhaps some of them are reconsidering that position now. The questions of why we are here, and what we’re supposed to be doing while we’re here are somehow even more important now than before.

One thing I’m pretty sure of is that I (along with you and everyone) have been endowed somehow with personal gifts (as well as weaknesses, those are a given). Why God makes artists is a question for another day, but I have a gift and I  know that I’m fortunate in that. And if I’ve been given a gift, it follows that there is a deliberate purpose for that, a function I’m needed to perform.  This makes perfect sense to me.

Amidst all the dull or nasty  problems each day presents to all of us (including supermodels, geniuses, and rich people), I’m taught to be thankful in all things, a tough discipline that only makes sense if you practice and apply it.  Every hour of every day has been a gift all along, and I’ve generally taken these moments for granted as something due me.  Yet looking back, I know that amidst the hard times, I’ve found resources I didn’t know of, and found friendships that would never have formed otherwise.  So, I’m  learning to live day by day, and even hour by hour sometimes, because I’m old enough to see that my life is not solely in my own hands.

How does this all look in real life?

Yesterday, my neighbor Teal and her mother Krystal dropped by for a chat, and after Krystal left, 4 year old Teal decided to stick around. I was going to clean my palette from a portrait sitting the day before, and one thing led to another, and Teal somehow ended up sitting for me. This, of course is technically impossible, because kids that age don’t really sit. But for a few moments at a time, between wiggles and riotous breakdowns of continuity, we worked out a tiny sketchy thing on a scrap of linen with yesterday’s paint and backdrops in poor light. Totally unplanned, just we two taking advantage of a moment that nobody saw coming.

TealShe loves purple anyway.

We made the best of it, soldiering along together for thirty minutes or so, and I came away impressed, once more, that this art-thing is perhaps more precious than I know. This momentary sketch will now be part of her life, and maybe if she makes it to 85 it ‘ll be a remembrance for her.

And I could have missed this so easily, with my busi-ness and preoccupation with other “more important” stuff.

It’s very good to value every opportunity and every moment, because I, and all of us, don’t really know what is next. We may get another warning and hear those awful sirens again tomorrow for all I know. And we can fret and despair, or we can open our eyes and do what good we may in the time and place we are in.

3/04/11 In a Pastel Place

My setup for the initial sketch.
My setup for the initial sketch.

I love this location, and have painted in oil here on several occasions. It’s a marvelous spot, directly beneath the Doris Duke mansion “Shangri La”, over on the Diamond Head side of the island.

The first challenge is actually getting myself and my  gear to this spot. One has to find their way here along a narrow and crumbled stone seawall which at higher tides is slippery and risky in some spots. This leads to the old stone yacht slip,  a local hangout for young swimmers and their friends. Lots of curious people make their way over to see what I’m doing, which livens the experience up. Plenty of folks here have never met  a working artist before.

I worked out the small color sketch (above) to decide what I was after, and started the finished piece (with compositional adjustments) on the following day. I find that the more preliminary consideration I give a piece, the smoother the sailing later on. I think that perhaps two more afternoons with good light should be sufficient to finish.

First work on the final painting, 16 x 20" on prepared surface
First work on the final painting, 16 x 20" on prepared surface

Here’s a shot of a day’s work on the final painting.  I switched from the morning to afternoon light, which throws the white structure into shadow on the side facing me, but illuminates the great walls nicely. There are intriguing opportunities for placing figures, contrasts of light and shade,  and integrating architecture into an almost jungle-like setting.

The delights of selection and emphasis

In my last post, I promised to present one of my favorite little drawings of all time, and here she is.

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Pascal Dagnan-Bouveret did this in 1906,  in red, white, and black on a gray-green paper, probably a sketch for a figure in a painting. I don’t know which one.  I found this gem in a sales catalog from one of the big auction houses ages ago, and it’s been in my file of drawings ever since.

It has so much of what I admire in a drawing…character, done with care, but not too much care, motion, and motive. It’s tender, but believably so. It’s just right on the money.  I perhaps read into this more than is there, but I have the feeling that the artist wasn’t conscious of making a great drawing, but because he was after something bigger , he ended up with one.

2/12/11 A Small Figure Study

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A 45 minute pose from my figure drawing class this week.

Cont’e and pastel on 9 x 12″ paper, and a good exercise in selection and restraint. How much does it take to say just enough?  I’ve developed a motto that has served well in such instances:  “Suggest, don’t explain.”

That doesn’t imply that  I wish to  maneuver around the difficulties inherent  in art by rationalizing (aren’t you weary of artists offering the disingenuous  “less is more” as a justification for an actual weakness in artwork?), but likewise, there is a line one can cross where the display of technical ability, what Hilary Holmes once termed  “muscle flexing”, will get in the way of poetry and create coldness.  The task of the student and the work of the artist aren’t the same; a point which is becoming more apparent to me.

To that end, in my next post I’ll offer a little drawing from my files that has always been a an ideal of where I’d like to arrive one day.