Thursday, December 17, 2009
Here's a little insight into the process I went through for this "Lost" piece. My original idea was a rather quick sketch with a marker to put down the essence of the piece before I forget it as I'm constantly being distracted. The good thing about sketching with a marker is that I'm not committing to anything too early. I know that things tend to change a lot from my sketch stage to the final drawing after reference is taken. At this stage I'm concerned with concept and composition mostly.
After refining the sketch a bit I then had my neighbor(great guy) pose for me. Using my photo ref and trying to keep the freshness of my original sketch I produce the final drawing onto watercolor paper.
Note about photo ref. If you are trying to produce a more realistic painting. Good reference is key.........Good reference is key. However, and you'll hear this again, you don't want to become a slave to your reference. You do want to refer to it, try to understand it, and apply the information it gives you to your work. Also, using reference doesn't take away all the spontaneity of the piece at all. It enhances my work and I feel I can still be as stylized as I want and yet have unlimited spontaneous opportunities.
At this point I can use my final drawing to make some value or color studies using photoshop. I produced one shown here that I thought I liked but decided to change. After having a little paint thrown down I'm able to produce a more refined color study(also shown above). This can be very helpful if I find myself not quite sure where exactly I want the piece to go.
Having a good sense of value and color saves a lot of time. I tend to build up these structures slowly with the acrylic. If I know something is going to be black from the get go. I can be more aggressive with my painting. I also gives you a good frame of reference for the rest of the piece.
You can view the final here.
From what I heard people where camping outside of Gallery 1988 the day before the opening! Wow. You can view the show in it's entirety here.
Thursday, December 10, 2009
Wednesday, December 9, 2009
If you're interested in a Print now would be a good time to buy.
December 9-28, 2009
All items in the store: 15% OFF
This Christmas, why not give someone you love a gift that will last forever.In the spirit of the holidays, from now until Christmas day, we are offering15% off all items in our store. Order as many prints as you want the discount applies to everything in our inventory.Choose from a great selection of limited edition prints at www.apapertiger.com and type in the coupon code, "HOLIDAY" during checkout.
Monday, December 7, 2009
Back in the day I would make a sketch. If I liked it enough I would take photo reference and do a final drawing. Then I would transfer it on to watercolor paper( via light table, graphite transfer, projector). With all the details worked out it could be tricky and not uncommon to completely leave out parts of the drawing. If you've done this you know it sucks and it's still not ready to be painted at this point. Because it's now the worst drawing you've ever seen in your life. It, again, must be redrawn and refined to make look clean, fresh, and natural looking again. Transferring tends to suck the life from a drawing and the artist as well. Ahhhh, now we were ready to paint:)
So over the years. I've learned a few things to speed up the process and keep things fresh. This may not be for everybody. Probably not even my younger self. But I've grown into it and I'm comfortable with it now.
As shown above, I have scanned and enlarged my sketches. I pieced them together with as little overlap as possible to cut down on dark overlappy areas while using the light table (an old window pane and a lamp works fine) or if you're working away from your studio a window during the day works as well.
I basically make sure I'm happy with the composition and basic anatomy of my sketch before enlarging it. I want it refined enough to communicate the idea or concept. However,I don't want to commit too much detail to the drawing at this point. Because I know when I take my reference it's going to give me tons of great info and random goodness (ie folds, drapery, anatomy etc)
Because the sketch is so loose I don't have to worry about losing vital information. Esp if I'm transferring onto heavier 300lb paper where lines become diffused as it's projected through the paper. I then loosely and softly transfer the sketch with a 2b or 3b pencil. It's dark and soft so it's easy to see and easy to erase. (take about 5 minutes tops) So without much detail thus far I've made a sketch and basically transferred my sketch. I don't think the method of transfer will make any difference.
I'm saving time by doing my final drawing directly onto the surface I work on. In my case it's watercolor paper. So it's fresh and I don't have to transfer it again once I have it worked out and all the details are plugged in.
Something to consider. Because I paint so thin I depend on the surface of my paper. I'm very conscious of my drawing and erasing. I do not want to disrupt the surface too much. Not at all if possible. So don't carve in your drawing with your pencil and don't erase with one of those hard ass pen erasers(do they even make those anymore?). This can be scary so if interested you may want to try it on a smaller piece before committing a lot of time and energy on a larger painting.
Sunday, December 6, 2009
Thursday, December 3, 2009
I just wanted to ask if you would be willing to help explain your painting process a little? I don't quite understand how you manage to get your acrylics so diluted, yet paint evenly. When I try this (it's hard enough to mix it smooth without any clumps!), I usually get uneven streaks.
A big difference, of course, is that I don't have any water colour paper on hand most of the times. I have been trying to get back into painting in sketchbooks first, a la James Jeans' sketchbooks.
In any case, I haven't much time for painting most nights, hence my using acrylics at the moment rather than oils.
Thanks for any advice!"
Thanks for the question. Acrylic is very versatile. I tend to water it down(I just use water) to a fairly thin consistency. I would try different consistencies to see what fits you. Starting off with a medium viscosity acrylic helps a lot ie Liquitex's Soft Body acrylics or Golden's Fluid acrylics. I usually add a drop of water (an eye dropper comes in handy) mix it around a bit then add more drops and mix, gradually mixing as I thin it out so I don't have chunks floating around within a watery mixture.
Using other wells in my water color palette, I'll have 1 w/a more intense solution, another w/ a medium intense solutioin, and a 3rd with a very thin solution all of the same color. So if I need a more subtle change in my painting I can use the very thin solution.
I paint in very thin washes on watercolor paper. Different papers react differently with the paint (hotpress vs coldpress vs illustration board vs canvas etc) It's not the fastest way to paint. One should recognize this. Don't have expectations to do a great painting in a day. My paintings go through a very unfinished "ugly" stage before they get refined at the very end. If you're just getting started or trying to get back into painting. I would recommend working with a vey simple still life to practice your craft, technique, and observational skills. When you're comfortable with your skills you can apply them to your personal work. If you're trying to be realistic good reference is key. Also, before picking up the brush be sure the drawing is exactly the way you want it. It's the foundation of your painting. If the drawing is off it doesn't matter how rendered something is it's going to be wrong.
Hope that makes sense.
Wednesday, December 2, 2009
Monday, November 30, 2009
Almost forgot a requested detail. For anyone interested there are other details from this piece in April of of this year further down on the blog. On another note. I just updated my website with the new work from the recent "Go East" show. Will post some details, progress pix etc. soon.
Monday, November 23, 2009
Saturday, November 21, 2009
I'm still trying to wrap up a few things and catch up from my trip to Illux Con. It was great! I'll post some pix soon. Here's a piece I'm going back into to tweak out a bit. It's nice to work on a smaller painting like this after some of the more recent, larger works that take so long to finish. So another 80+ hours and I should be finished. . . . . . . . . that was an art joke;) I'm not THAT slow. More like 60-70 ish hours.
As I've mentioned I'll be teaching at the Columbus College of Art & Design in Spring. The lesson today is don't bite off more than you can chew. I noticed a lot of ambitious students who were working on giant paintings/drawings but not really finishing them. The quality of the work is more impressive than the size. Or at least that's what I keep telling myself.
Wednesday, November 18, 2009
Eric Fortune and Joao Ruas:
"A Place That I Remember" and "Haunted # 20"
Paper Tiger has just released two new prints from Eric Fortune and Joao Ruas.
Both being successful illustrators, Eric and Joao are starting to really make their mark on the gallery scene as well. We were lucky enough to work with them on pieces from their most recent show in New York.
...and now you can purchase these limited edition prints exclusively on Paper Tiger!
Wednesday, November 11, 2009
It's 300am. I have a lot of stuff to pack still and I have to leave the house at 6am for IlluxCon. Joy. Last year's was really fun and very humbling. Should be good... once I get a little power nap and some coffee. I'll leave you with this hour and a half vid from a piece "Kingdom Lost" that was recently in the "Go East" Show over in NY. The progress is very slow here because I'm gradually building up and tweaking details as opposed to the large, fun to watch, drippy washes I tend to do in the beginning of a painting. See vid here
Monday, November 9, 2009
Things are still quite busy. I'm also preparing for IlluxCon which begins this Thursday in Altoon, PA. In the meantime here's a detail from "Under a Tree". A painting that was part of an opening this past weekend in New York. Thanks for all the support!
Wednesday, November 4, 2009
Tuesday, November 3, 2009
Wednesday, October 28, 2009
Go here to check out a few sneak peeks of some work for the upcoming show.
Saturday, November 7, 2009
7:00pm - 11:00pm
LeBasse Projects NY
New York, NY
For a special three-day-only event, Los Angeles-based contemporary gallery LeBasse Projects expands its horizons to the East Coast to proudly offer New York City a collection of new work by some of its best and brightest talent.
“Go East” presents the city with LeBasse Projects' penchant for fresh, innovative artists at both emerging and established career levels by way of this exhibition featuring Yoskay Yamamoto, Tessar Lo, Edwin Ushiro, Joao Ruas, Eric Fortune, Mia, and Nate Frizzell.
Tuesday, October 27, 2009
I just realized I had posted this previously. But instead of making you search for it here it is again. I'll post another soon. Busy wrapping up my last piece for the "Go East" Show in NY and what I thought would take a few days to finish up is obviously going into overtime. But I think it'll be worth it. Thanks Janet!
Sunday, October 25, 2009
Here are two of some of my favorites. Subtle Phallic suggestions??? HA! It's titled "Jelly Dong" ..... must...pull self..away from.....shiney...on screen Jelly Dong... And of course Gerard DuBois. Love it! See the rest of the show here.
Friday, October 23, 2009
Thursday, October 22, 2009
Monday, October 19, 2009
Saturday, October 17, 2009
I'm currently busy finishing up work for the "Go East" show in NY with LeBasse Projects Gallery. In the meantime I thought I'd post up a decent detail from my previous show "Daughters of Our Nature" featured at Roq La Rue. I'll post more details from that show soon.
Wednesday, October 14, 2009
Monday, October 12, 2009
Thursday, October 8, 2009
ʻGo Eastʼ group exhibition in New York
LeBasse Projects NY
42 Rivington St.
New York, NY 10002
November 5th – 7th, 2009
Opening reception: Saturday, November 7th, 7-11pm
New York, NY – Los Angeles based contemporary gallery
LeBasse Projects expands its horizons to the East Coast. LeBasse Projectsʼ temporary exhibition offers New York a collection of work by some of the galleryʼs best and brightest talent. “Go East”
presents the galleryʼs penchant for fresh, innovative artists featuring Yoskay Yamamoto, Tessar Lo,
Edwin Ushiro, Joao Ruas, Eric Fortune(that's me! Hip Hip................hello?), Mia, and Nate Frizzell.
Tuesday, October 6, 2009
As much as I hate to admit it. I've really been struggling with this particular painting for the past several days. Last night I finally had a break through. It's really helping me to stay focused and motivated. Although, there's much more work to be done. These newer pieces are for my upcoming show in New York Nov 6th-8th. I'm aiming to have all the work done by mid Oct...yikes.
Tuesday, September 15, 2009
Spectrum's Exhibition was Awesome. Met a lot of great people & outstanding artists. Had a lot of fun and came home totally inspired and ready to work:) Just wish I had more time to hang out with more people :( Big Thanks to everyone involved in setting up this great event!
Friday, September 4, 2009
At this stage I'm just laying down lot of loose washes. Building up the background slowly. After a few washes this piece went a different direction than I expected which is kind of exciting. Certain elements, usually in the background, have flexibility for happy little accidents to happen. Establishing the dark of the hair gives a good reference for value within the painting.
Thursday, August 27, 2009
Monday, August 24, 2009
Wrapped up another drawing and here I'm bringing my next one up to par. Once all the drawing is done I'll have several paintings I can work on simultaneously. This is helpful in keeping work fresh. If I get burned out on one I can switch up. Or paint on one while another dries. I think it has sped things up for me a bit. Esp in the beginning when I'm doing large washes. Just getting to that point seems to take forever ughhh.
Tuesday, August 18, 2009
Friday, August 14, 2009
Here I'm just refining the drawing. For the main figures and other important elements I like to get them just the way I like before applying paint. In this stage it's easier for me to correct mistakes or make adjustments while in graphite. Sometimes I will do subtle rendering that in the end become lost or completely covered up. So I'm trying not to put in too much detail in areas that I know are going to be dark. Also there's no real sense of value at this point. So what may seem dark is probably not even close. I'll smack some paint on here soon and have a better sense of where things need to be. I have a good idea of what this will look like in my head. Haven't done a value study yet. Wouldn't be a bad idea. And will probably save me some time in the long run. Why does getting started take so long!?
Wednesday, August 12, 2009
Getting started on a new painting. At this point I'll start to do a finished drawing using my reference. Taking time to for a photo shoot then filtering through all the pix for ones that work, or parts of a photo that works, takes a lot of time. But I think it saves time in the long run. Some people feel like this may stifle their style or creativity. I've found that it has actually enhanced my work a lot. On top of that I also feel I have plenty of room for spontaneity and random artistic goodness. The trick is not to become a slave to your reference.