I love following along with Bob Ross so tonight I spent a few hours doing Camper’s Haven and here’s the results. Keep in mind I’m in the heat of battle and just used my phone real quick for all but the final shot. That shot uses my nice camera so looks correct. Here it is:
Starting with my wash from yesterday:
I went in and tried to get basic big flat shapes in the background:
I now let this dry and I’ll do another layer adding what details I can and spend most of the time on the face.
While doing this I finally noticed that one eyebrow was raised.
I finally finished my Saint Anger cast drawing and will be taking it home today. Here’s the final drawing with the cast just before I go home:
Claybord is great for pencil work. You can erase it indefinitely using various scratch board tools or normal erasers. Probably the only annoying thing is you can go dark way to easily so rendering the lighter subtle value shifts requires erasing out the first rendering to pull it back to the light values. Other than that it’s like paper, and being mounted on a cradled board makes it very durable.
I posted the progression of the drawing over the months so you can see it as I worked on it, and here’s a cheesy video of it:
Kind of anti-climactic to see 6 months of work compressed down to a few seconds of video.
My next project at school will be cast painting, but mu drawing skills need work, especially with faces. I’m going to switxh back to Bargue plate copies, but after I block in with pencil I’ll render with paint. Pencil rendering is tedious and annoying without much learning value. I’m much more interested in learning to control values with paint so cast painting is my next step.
I may also do some of them in pastel since that’s very fast for monochrome studies like this.
I’m doing a master copy of John Singer Sargent’s Lady Agnew painting
in class and have the first drawing and thin grissaille done:
I left a few spots open for now since I wanted just enough to see the drawing. The next layer will be full color but very simple rather than a monochrome underpainting.
I wanted to do this in pastel but after studying it I thought it would be too difficult. The original painting is huge so when shrunk to 11×14 it becomes mostly photographic. Replicating that in pastel will be difficuly in three weeks.
I’m using a claybord on this painting since I have become very familiar with drawing on one after my Saint Anger cast drawing. I’ve wanted to try doing an initial drawing in pencil on claybord, then do multiple layers on it to build a painting. First the quick drawing just to get basic shapes:
One thing about pencil is as the paint dries it become more transparent so you can have some pencil show through later. I’m curious if that applies to claybord which is so absorbant. After that I did a quick open grissaille:
I’m pretty sure the background is going to be too dark but I’m going with it for now. The paint dries almost immediately so I then went to the first layer of color, starting with the lightest light shapes:
I got a close focus adapter for my camera and played with photographing this jar of pickled mangoes:
My lens can go down to 1.4f and so I can make the front of the jar more focused than the back. I had to put it on about 2f because the close focus adapter seems to further narrow the depth of field. I’ll have to research that.
I’m posting a photo of the subject before I attempt the painting so that all the “helpers” who think they can critique my paintings without seeing the actual subject or any of my other paintings can at least be more accurate in their completely unrequested comments on the accuracy of my impressionistic expressive paintings where I don’t give a fuck about accuracy.
I’ve been into painting seafood so when I decided to have shrimp tonight I cranked out a 25 minute sketch in oil of them:
I’ve also done these paintings of fish recently that I love, which has inspired me to get into seafood and food paintings in general.
I finally finished my cast drawing of Saint Anger:
My next step is to do copies of plates from Charles Bargue’s book, cast paintings, and master copies.
But fuck this pencil shit. Life’s too short.
I haven’t had a chance to paint outside in a while since I’m working on a new book and going to school part-time. I took a quick trip to Portland and despite dragging my paintbox all the way there only found time to do one quick painting before I left. Here’s what I painted at the river:
When I got home and the painting had dried I tried out some scumbling and glazing techniques to fix a few things about the painting. I had painted it in the bright noon sunshine so everything was way too dark and the river was too intense blue. Here’s my first attempt at changing it:
I made the sky much lighter by scumbling on white and pthalo blue very thinly. I pushed the distant mountains back with more of a glaze of white and little bit of blue. Then I put more intense green on the light side of the trees and finally glazed on some blue and transparent green and a little orange to make the water less intense.
I think I should have left out that weird spindly tree but I’ll leave it and do something else with it in one more round. I think I’ll also experiment with water reflections, but mostly this is just experimenting on a failed painting. It’s kind of like photoshopping it to see how you could fix it.
I finished this JSS mastercopy today and will start another one of his for the rest of class. I may try the next one in pastel to practice that and also because I only have 3 weeks left in this class.
The purpose of a mastercopy is to learn how another artist would approach the subject. Painting, especially alla prima, has the history and technique of the artist embedded in the painting. You can figure out quite a bit of their style from the brush strokes and attempting to mix the same colors.
It’s better to do this from an actual painting rather than a print, but I’ll make that a goal for next year.