by admin on June 20, 2011
Richard, a friend and JewBu, his word not mine, says that “the answer is in the bush”, (then, pointing to his head), “not in here”. I’ve been thinking about his comment for a few years. This painting manifests his philosophy. The answer is in the stones, is in the brook, is in the arrangement of the watering cans, or in the ravine. With this in mind, each brush stroke carries the moment in color. This painting, and a few others like it, are largely done in one pass, standing along the brook’s edge. The drawing, laid down lightly on a white canvas, is my conscious map, the color and rhythms I depict are my spirit.
by admin on June 15, 2011
Head and shoulders can create such lovely compositions. The old dutch collars that Van Dyke and Hals painted are wonderful but so is this guys Izod collar.
What is it about portraiture that makes it so special?
Jun, a musician here in New York, but in this painting a 19 century monarch?
by admin on April 25, 2011
Jane posed twice for this painting. The first time she posed, the painting went completely out of control in the last hour. I lost the light footed focus that I had throughout most of the session. I scraped the painting down and asked her to come back the following week. It was hard to stay off the ledge while the days passed and when she returned, I had to work really hard to put away all my tension and feelings of failure.
As I’m getting older I’m allowing the “false start” to be a comfortable part of the process, as well as clearing my mind of trash before I paint again.
by admin on April 18, 2011
I found a Micron05 pen. Most likely one of my student’s. I’ll find the owner soon. But before I do, I wanted to try it out myself. I see a lot of people using them and I deal with a mild jealousy for the work they do with it. These pens are teaching thousands of artists, young and old, to draw; now including myself. They have a fine point, versatility in pressure and touch, and once the ink is down there is no going back. Using this pen prepares your mind for drawing, It forces you to balance your mind between planning your next moves and total commitment to the line you’re creating at the present moment.
Below are my Micron05 test drive drawings. Does anyone know whose paintings I copied here? The last two drawing are this artist’s own drawings. I wonder if he used a Micron05?
by admin on April 11, 2011
A break through here, I hope.
I painted this portrait of Mel in the same way that I draw on the subway. I’m not sure I can even describe what that means. The approach was without any preconceived ideas of what this painting would be. The finish, my career and life didn’t play any part in this “big picture”. All of my studying of process and block-ins and light and form were put aside and I only painted what was needed. Trust in myself was the medium.
The only tip that I would like to save and remember is that I set up the eyes early, not something I normally do.
by admin on April 8, 2011
This was something special, this Drink and Draw at 7B, Vasac.
Steve said it’s his favorite bar in all of Manhattan. He’s been to all of them.
The light, the color, the Metal, the bartender reading The Tempest, the philosophy ridiculous flowing like the IPAs.
I’m looking forward to the next time we all meet.
Justin a drawer and bartender
The Taps at Vasac’s
by admin on February 25, 2011
I love the way Sargent painted Edouard Pailleron’s massive masculine presence. I don’t think it comes across in my watercolor copy but I certainly enjoyed laying the rich color and experiencing the satisfying design.
by admin on December 3, 2010
Life arranges itself.
It’s important to find a point of view
and create a balanced composition/life, that’s interesting and colorful.
APPLES AND CRAFT PAPER
MORNING TABLE
SALT LAKE PLANE
by admin on November 16, 2010
After a day or two of enjoying the first pass of this painting, I began to feel a renewed interest in working on it. I didn’t feel like I needed to rework anything. Whatever the likeness was missing, I felt wasn’t important enough open up. But, I questioned the white edges and a certain bulkiness through the body. Overall, a level of articulation was missing as well as a major poetic element, the braid. Finishing this little piece took all of 50 brush stokes, a fair amount of restraint, and a little bit of cheating; painting what’s needed rather than what’s there. I wrote somewhere in a recent sketchbook that writing is cheating too. We paint and write about what is there, but also what we want there. Stealing is important too. Here I stole a bit from Hals and Henri and Chase as well as Wyeth . . . maybe both NC and Andrew . . . particularly Andrew though. See below.
FINAL?
The above photos is my first pass for comparison.
