Red Riding Hood Illuminated

Red Riding Hood Illuminated
Mixed Media with Gouache, Oil on Panel and Faux Gold Leaf
12" x 16"
Since the beginning of time, humans have been telling stories. From cave paintings to modern times, artists have been story tellers. As a child, my favorite books were the ones with beautiful illustrations that augmented and brought to life the written words on the page.

I have long been fascinated by illuminated manuscripts. Perhaps it's my design background or maybe my fascination with detail (I'm a reluctant Virgo afterall.) But the brightly painted curving lines and gold leafed illustrations just plain delight me.

About a year ago, I became interested in book binding. As is typical of me, my first bound books were anything but simple.
"You never do anything the easy way", my mother used to say. True. These two bound books were in leather and all the pages were designed and printed in color using designs taken from illuminated manuscripts. They were journals of a metaphysical nature and gifts for two dear friends. I'm working on a another for myself.

I found myself, about a year ago, becoming a bit burned out. I grew tired of the same old thing and was searching for some fresh inspiration. It was these books and my playing around with my Tarot cards that started to form an idea. I flirted with the idea of bringing words and images together and produced a couple of paintings along that line. Eventually, that idea found more fertile ground and took root.

In the panting below, a sort of prototype, I combined my love of realism, illustration, illuminated manuscripts and story telling and combined them. This painting has all the elements I was looking for. The floral design surrounding the image is painted in Gouache and acrylic gold metallic paint. The image itself is on a gessoed background surrounded by faux gold leaf and is painted in oils. The type is on archival paper. It's all carefully coated in varnish appropriate to the two mediums.

The image itself is an old one I've painted before from a photo session with one of my models. She was handy and the story quote was easy to come by. It served the purpose. I have another in the works but this one and several to follow will be based on various images from the Major Arcana of the Tarot. So one more aspect of what I love will be added to pot.

These, of course, are not my only projects. I have another bird image on the easel which is part of a series. But these new pieces are my new love and I'm enjoying the hell out of them. And that's my story.

Oil Portrait Study

Study of Lauren
Oil on Linen

I host a weekly life drawing group in my studio on Mondays.  We're just a small group of friends who enjoy each other's company.  Often our poses go for up to six weeks so that members can do polished drawings or paintings from the pose.  This time, though, we ran the pose for four weeks.  Now I know that there are a lot of very good alla prima portrait artists out there but I'm not usually given to alla prima work.  Well, yes, I used to be an alla prima painter but in recent years, I've changed my style to that of a more polished look so I'm badly out of practice on alla prima portraits. 

I do like to do studies every so often and I have decided to dedicate every other session to just painting from the model rather than drawing. This study of our model, Lauren is the first in a long time.  I try in these little pieces to focus on the bigger picture and limit myself to just a couple of brushes.  Basically I use three.  I have a 1 1/2 inch for the background and other larger shapes and a 1/2 inch for the medium shapes and a 1/4 inch brush for the smaller shapes.  I'm learning to wield the larger ones with more finesse and I resist the urge to go to smaller brushes.  Usually I can achieve a fine line when needed by turning the brush on it's edge.  So much more to learn here.  


Nude Study

"Study of Jen"

Oil on Linen













When working toward a more polished piece, I fall back on training and work out a couple of color studies first.  I wanted to get a general sense of the skin tones for this painting of a nude, and so turned out this study today. I'll more than likely do a couple of more of just her head and then a few of her feet before I'm satisfied that I have the color where I want it. But I liked the way this one came out today so I'm posting it. 

Female Nude

"What Dreams May Come"
Oil on Linen Panel, 8" x 6"

The figure is my favorite subject. I never tire of painting the nudes or even costumed models. Once a week I sponsor a figure drawing group at my studio and together we pay for 2 1/2 hours of a model's time. This model in particular is a dream to work with. I knocked out this little study the other day. She's for sale. To view the auction or bid, click here.

Oil Painting of Reclining Nude

"Awakened"

18" x 12", Oil on Paper


I've been painting small nudes lately. I think there's an intimacy about them that you can't get with larger paintings. Also the the size allows me to do more of them and experiment with abstracted backgrounds. Abstraction is something I'm deeply interested in. Don't get me wrong - I'm very much entrenched in representational work and have no intention of changing that. But any artist who has trained, knows that a good abstract design lies at the heart of every successful painting. For a long time I've been scribbling in sketch books ideas that I have for combining these two genre's. Yes, I know there are other artists out there who have done this quite successfully. There probably isn't anything new under the sun and I'm not out to reinvent the wheel. But I have to go where my muse leads or my work will get stale. 

I think the exploration of  new horizons is a call that many artists hear but don't follow out of fear of losing sales. What I've found is that when I paint something I love, others love it too. So. Onward into the new frontier. Er, somewhat. I think you'll still see a lot of my traditional stuff here as I continue to forge new paths. As it goes with many experiments, sometimes the lab blows up.

Male Nude Study

A Study of  Carlton

I run a life drawing group on Mondays at my studio. I have about seven loyal friends and students who enjoy this time with me.

Carlton is one of my favorite models and I particularly enjoyed this pose because of the warm and cool contrasts.

For the past few months, I worked strictly in graphite to get back in practice but since we have switched to longer poses I'm back into paint. I'm a bit out of practice with painting directly from the model as I haven't done it since last June when I was in atelier, but I hope to whip these out a bit faster and more accurately as I get back in the swing of things. 

"Red Riding Hood"
Oil on Paper and Board























Yes, you've seen a smaller version of this one already. But this is the actual painting while the other was the color study. I love allegorical paintings. This is the first of a series I plan on doing. The next one is already in the works and I'm as excited as a kid with a new toy. It's so cool to get my creative freedom back after three years of study. It's not that I felt restricted while at Georgetown Atelier. My teacher, Tenaya Sims gave us an enormous amount of freedom. But there is something about the intensive environment and academic climate in an Atelier that seemed to hold me back. Perhaps it was my self conscious fear of failure or making mistakes. Everything felt stiff and stilted. It feels now though as if I am finally doing the work I'd always wanted to do. I still feel daunted by some tasks and many aspects of painting classically, but overall, I'm more confident and my drawing and rendering skills have improved measurably even since graduation. I want to jump up and click my heals!

Red Riding Hood - color study

Some time ago when I was still attending Georgetown Atelier, we had a little red headed model who posed for us. During her breaks she would don this gorgeous red robe that had a huge hood on it. It was an irresistible combination. I asked her if she would model for me after class for a photo session and she agreed. We met one evening and worked together for about two hours. The results were so good that I almost couldn't wait for the end of school so I could get started on a painting. 

While I prefer to work from life, the model lives in Seattle and I, unfortunately, live in Port Angeles - a difficult commute for either myself or the model. Now that school is over, I'm a bit reluctant to spend a lot of time commuting. I had previous done a small portrait from life of her in the class so I was confident that I had her coloring. For working from photos I use a large flat screen monitor in my studio that rotates to vertical. This provides more realistic coloring and I can adjust things as I need to.

There were many photos that came out beautiful and worthy of painting and some I will pursue at another time, but this particular pose (with some changes on my part) worked because of the edgy quality of her gaze. It seemed perfect for the story of Red Riding Hood. Umm...just who is the wolf here?

I spent about a week on the drawing which I did to size and then reduced it for the purpose of doing this color study. The study is only 8" x 11" on "Yes" canvas. The finished piece will be 19" x 27.5" but likely done on board. I'm still working out my preference. This came out so good, I'm going to frame it too. I'm having a great time! School was so intense, I almost forgot how much I love to paint. It's good to be back.

Portrait, Oil on Board

"Thoughts of Spring"


Every artist has a favorite model and Amber is without a doubt, mine. She has beautiful bone structure and at the same time a certain softness about her that makes her a pleasure to draw and paint. I did this portrait from a photo that was taken some time back when Amber was pregnant with her son Joshua. It was a rainy, cold day and Amber was standing at the window on a short break. It was the perfect shot so I asked her to hold still while I adjusted the camera. I took hundreds of photos that day but this one was the best. I prefer to work from life, but often my budget or time do not make that possible. Photos can sometimes lead to a stiff or an unnatural looking portrait. This is because when you work from life, the model moves. So the work tends to be a composite of many poses which come together to lend the portrait a certain sense of life. Photos, on the other hand, don't move and this can cause the eye to focus on each portion of the photo separately making for a hard lined and fragmented painting.  I think, however, that I managed to retain Amber's special qualities as well as her quiet moment of hopefulness in this portrait.