Forgive My Absence...But, It's Time For Some New Releases!

I've found it very difficult to get to the creative work recently - it's always hard this time of year with the ending of the school year and trying to get things completed, the end of the Family CoOp and related celebrations, the end of spring soccer seasons and it's related celebrations...if I never have another pizza it will be too soon!!!

"Spring" Signed, Limited Edition giclee print on paper
of original pencil drawing, 9"x12" $50.00

Anyway, during this hiatus from actual art production, I did manage to FINALLY have some new prints made!  They are lovely quality giclee prints from the only place around here that seems to do them (and Les does a wonderful job) - Palette Arts in Nipomo.  They are available directly through me (if you want a signed limited edition, quality guaranteed) or through my site at Fine Art America (which would not be signed and they print on demand on various sizes and surfaces, however I am unable to check the quality against the original - looks good on screen, though).

I'm sure long-time visitors will recognize the drawing above - the first to be released in a series of 4 seasonal drawings.  Obviously, this one represents spring - my goal is to try and release a new one during each season until the series is complete.

"Tweet" Signed, Limited Edition giclee print on paper
of original gouache painting, 6"x 8" $40.00

#2 in the series

#1 in the series

You'll also recognize this little guy - part of a series of 3 kid-friendly, primary color images that were originally done in gouache.

"Still" Signed, Limited Edition giclee print on paper
of original acrylic painting, 9"x 12" $55.00  OR  16" x 20" $65.00

Of course, my favorite is the recent painting "Still."

Last but not least, I have some 9"x12" prints of the chef study that I used for the mural.

Making a Splash...

I've been working on a couple of different things lately.  I've stepped back into the chef panel, doing a little here and a little there.  I put in a layer of color on the architectural elements and started the grape leaves creeping across the top.  I added a couple of minor veggies and filled in the purple grape at the bottom. 

My challenge here was the splash.  I originally started using cerulean blue and was horrified - blech!  Switching to ultramarine was much better...but, wait a minute!  I didn't try pthalo.  Might have to try that tomorrow.

Another thing I started was a study of a tree - the type of tree that will go in panels 1 and 2.  This is especially challenging because it's a truck load of green, green, and more green.  I have 3 different greens in the hillside and another 3 (or more) greens that make up the tree.  I'm having to find ways to create contrast, even though in the reference pictures that I'm using, it does blend together at times.  I need to work on it a bit and work out the kinks.

Not very accurate color, but wanted to share
what I have so far

I think I have a studio guest at night.  I'm not sure, but I think it might be this guy:

I've heard him rustling around here and there.  I suppose we can share the space for now...so long as he doesn't start using my paints.

It's Raining Veggies...

The produce has started flying - so far lettuce, onion, garlic, celery, broccoli, tomatoes and yellow squash.  Of course, there's more to come...

A little touch added to the panel that wasn't in the original is some produce on the floor (garlic and onion in the background, a celery stalk in the foreground).  I have another change planned, but I won't spoil the surprise, now.

Also, the chef now has a complete mustache (I'm sure that will come as a great relief to everyone).

A stylin' "stache"

The Camera Doesn't Lie...

Isn't that the saying?  Well, it's true.  As predicted in my previous post, a photograph brings into focus anything that isn't working in the painting.  I quickly saw problems that I couldn't quite put my finger on while I was in the process - mainly the uncomfortable position of the right arm, the awkward fingers, and the shortened legs. 

Likin' the lighter background

After working on a lot of that panel in one day, I think I was coming up with excuses as to why I don't really need to repaint anything.  But, with the dawn of a new day, all issues have now been corrected.

There's A LOT of produce in my future

I raised the arm up a little, but a simple (yet important) change was simply changing the direction of the fold shadows on that forward shoulder.  The hand came together smoothly and looks more natural.  The legs experienced a growth spurt from the knew down.

Oops!  Forgot to add the other half of his mustache,
now that the background has been lightened.

I also touched-up the background with the yellow/white mixture, so the skin tones stand out quite a bit more.

My "littlest" fan!

Busy Day in the Kitchen

Today was a day of much progress in the kitchen...not MY kitchen, unfortunately.  I actually mixed several grays for the pot and the chef's pants.  But, one of the more time consuming things was mixing a batch of skin tone (probably should have done that a while ago, but I worked in small amounts on the palette before).  Now, I have a lot of a good base that can be tweaked a bit, depending on the figure.  I know I'll have some touch-up as I go back through the panels with detail. 

I'll definitely have to touch-up the chef as I need to rework the background around him.  There really isn't enough contrast between the background yellow and the fleshtone.  I'll probably mix the yellow with a touch of white to help create more contrast, but also because the yellow is so transparent, it doesn't cover anything!  So, sketchy pencil lines are still visible after several coats, not to mention painted lines that are no longer needed.  That's why you see patches of white around the figure - those are areas that needed to be covered (the big splotches of white, however, are future vegetables - and there'll be a lot more of them).

I always like seeing the panel in a photograph because "issues" are clearly visible (they're not as obvious when you're staring at the panel close-up).  My goal isn't necesarrily to have a completely anatomically correct figure - especially since the chef is quite a "character" - but there are often things that bother me and seeing a photo often helps me identify them.  Oh, and I know he only has half of a mustache.  No point in painting the other half until the background gets reworked.

Again, details will be adjusted and sharpened - but you get the idea.

Chef Study

The latest work in the garage involved a study of the chef.  After drawing and painting the original proposal, tracing/adjusting the figure on the panel, and now drawing and painting the study, I went back and looked at the chef in my sketchbook.  I did this when I was just playing around and brainstorming.  Drawing is more my strength and the sketch is much looser and fun. 

Original sketchbook "brainstorm" for the chef

The biggest difficulty and motivation behind the study was to figure out the right hand gesture.  But, since the study is small, I can only work out so much.  I kind of wish I'd gone back and looked at the sketchbook designs before I started painting - I might have taken the figures in a slightly different direction.  But, I also know that I'll always find something to second guess myself and I'm better off letting go of some things and letting the painting develop as it will (for sanity reasons).  The truth is that I'm learning a lot every day that I'm out there painting.  And, it's far from done - much more detail and "whimsy" will follow.

Photocopy of chef panel used in the projector and recent color study

My biggest lesson on this panel is the realization that the yellow that I purchased (which I chose because it was the most lightfast and permanent version of the yellow I needed) is probably the most transparent paint I picked up.  That explains why I've gone through more of it than any of the other paint colors.  It takes a lot more of it to cover anything and to create the mixtures that I've used for the various foliage.

In the past, I've had frustration with acrylic paint in general - mainly, the short drying time making which meant I had to remix colors frequently and the fact that it dries a slightly different color than it goes on.  But, with the Nova Color paints, the Sta-Wet Palette, and all the time spent working on this project, I can safely say that acrylics and I have made peace.  In fact, I plan to work with acrylic paint for more of my future illustration projects.

Rounding the Corner...

Well, I've finally made it into panel 5 (and it's turned against the side wall of the garge - hence, turning the corner)! 

Just started mapping out the floor tiles and fixing some proportions.  While the projector was incredibly handy, working from a very small original painting means that little distortions are increased in my tracings - mole hills become mountains.  So, some adjustments to the chef are necessary.  Also, the floor tiles are taking a little bit of time to get a sense of fairly balanced visual perspective without being overly hard-edge and mechanical.  But, I'm enjoying working on something different for a while.

The toasting figures are in a good place for now - I'm content with the direction that they're going.  I was not able to capture much detail in the original proposal because the scale was too small, so I've been making them up as I paint.  I'm not working from any models either - they're basically imaginary composites.