Sunday, May 27, 2012

Portrait of Dignan

Here’s a portrait of Dignan. Lot’s of color in his coat, which gets a bit confusing, but it came together quickly. Oil on canvas, 16″x30″.

Thursday, February 9, 2012

Portrait of Najee - Final

Here’s the final of Najee’s portrait. A few more precise details in the head, and then I rapidly painted the rest of the body to keep it loose and not distract the focus from the face. I’m very happy with this one.

Sunday, January 22, 2012

Portrait of Najee - second session

After letting the initial paint set up a bit, I start laying in more precise and thicker paint. The underlying layer is still slightly wet, but the thicker paint allows me to easily cover areas for correction. This image is after another hour of work, and the head is looking good. I’ll take a break and come back to it with a fresh eye.

Portrait of Najee - first session

During the same session as the previous post, I continue with corrections on the initial block in. The head begins to take shape. I’ve been working for about 45 minutes up to this point. Time for a break.

Saturday, January 21, 2012

Portrait of Najee - block in

Najee is a beautiful 2 year old German Shepard. I'm creating a portrait of him which will hang at the San Francisco Animal Care and Control offices.
I start on a 30"x40" canvas lightly toned with burnt umber. My initial block in is extremely wet and created with a large brush and a rag for wiping out. This only takes about 10 minutes and is just to set the position on the canvas.

Saturday, October 15, 2011

Saul Tepper

The great yet mostly unknown Saul Tepper. I’ve always been a fan.
 From the Society of Illustrators:–Saul-Tepper.aspx
By 19, he was working full time in his own lettering studio while studying art at night and on weekends. He found William DeLeftwich Dodge’s composition classes at Cooper Union and George Bridgeman’s “ideas in drawing” at the Art Students League, were important influences. But his most important influence came later, under Harvey Dunn at the Grand Central Art School and at Dunn’s Tenafly, New Jersey, studio.
After graduating from Cooper Union, Saul acquired a job in a studio as a lettering man. There, he had his first chance to do some figure work in oil. In 1920, he married Beatrice Lindenburg. They had two children, Albert and Joan. In 1925, at the Van Dyke Studios he branched out as an illustrator. For the next few years, his work developed under the guidance of Harvey Dunn. Saul’s first sample from his new studio was purchased by Liberty magazine, who created a story around it. Collier’s followed shortly thereafter, as did the Curtis Publishing group (Ladies Home Journal, Saturday Evening Post and Country Gentleman) then came Woman’s Home Companion, The American, Cosmopolitan and Good Housekeeping. By the mid 1930’s, Saul’s style had become recognizable and commanded top dollar. His advertising campaigns for Chesterfield cigarettes and General Electric and his WW II posters, commissioned by the United States government and by Stetson Hats, are most notable.
Saul moved his work to the Lincoln Square Studios and then, for thirteen of his most productive years, to the Hotel Des Artistes.
As a lecturer, Saul has spoken often to groups of students and professionals at Cooper Union, Pratt Institute, the Society of Illustrators and Art Directors Clubs.
Because Saul knows the importance of the patient help one artist will lend another, he has given of his time to many. Al Dorne apprenticed to Saul at his first lettering studio and later Harry Beckoff and others. We will never know how many would have put down the pen for a shovel without Saul’s help. He tells about one young man, Arthur DeKuh, an ex-boxer and bathhouse bouncer, who, through hard work and Saul’s critiques, established a career in art.
Saul, having grown up during the Golden Age of American Illustration, was influenced by it. The period between World War I and II was Saul’s “Golden Age,” an era of romance and adventure in which he, Cornwell and Rockwell played an important part. Reproduced in the major magazines for four decades, Saul’s work became a source of inspiration for many artists of that period.
In the 1950’s, still an active artist for the new adventure magazines (True, Argosy and Real), Saul reached a point of dissatisfaction. He became TV art director for J. Walter Thompson and BBD&O, creating images for TV commercials. He also continued with his music, composing the Red Cross theme song for 1960-1961.Saul passed away in 1987.

Strata (Oil on board)

Finished another painting of my New York series today.
Kim and I went for a beautiful Sunday morning bike ride into Manhattan. This was the scene from the corner of Pearl and Coenties. I had to lay on my back to get this view. I loved the way the architecture from multiple time periods mixed to create the scene.

Sunday, September 18, 2011

Finished portrait of Opal

After a few more hours of work, I’ve finished the portrait of Opal. I’m very happy with the final outcome of the painting, and a big thanks goes to Kimberly for making a few last minute suggestions. Always good to have a fresh eye. Opal on the other hand seems very disinterested in her portrait.

Opal portrait - Round 2

The portrait of Opal continues. Round 2 was about an hour and a half. I felt it was important to capture the thickness of her coat. I’ve also made some adjustments to the drawing. And no, she did not sit for the portrait. She actually spent most of the afternoon hiding behind the toilet. One more round and it should be complete.

Friday, September 9, 2011

Portrait of Opal in-progress

A few weeks ago, Opal was diagnosed with terminal cancer. Knowing we may lose her soon, it’s more important than ever that I capture her in a painting. She still enjoys sitting in the sun as it streams through any window, and that’s how I’ll always remember her. Here’s the painting about one hour in. More to come.

Saturday, July 30, 2011

The Dog Stare

Painting at home all afternoon is a rewarding experience, but at the same time, there's always a feeling of guilt. Here's why:
It's that constant look the dogs give me of "What are we gonna do now?" I have no idea what they're actually thinking, but I do get the sense that it's along the lines of "I'm bored, and you're just standing there."

Jamie Wyeth captured the look perfectly. I can only imagine that his dog was thinking the same thing.