Feeds:
Posts
Comments

Posts Tagged ‘classical’

A small collection of images which represent what can be seen on my webpage.  It's all classical realism!
I’ve decided to add a “Sketch Book” category to my website under the HOME/PORTFOLIO menu. I say a little something about each drawing and I hope at some point in the near future to record some demonstrations of my process.

My newest painting has also just been added to the landing page. It is “The Crowning of Thorns” which will be going to one of the Catholic churches here in Seville, Spain. To be honest, I often wander around these magnificent buildings and think about how wonderful it must have been to have had those walls as a canvass!
I’m sure I’m not the only one to have expressed this sentiment.

Read Full Post »

Here are some of the drawings and studies I get up to in between major projects. It’s a good thing to always be drawing. Drawing directly from nature, copying from the masters trains the eye. It is the foundation of all good painting. It is here that you chiefly learn about values independent of hues. If you can good handle on values, you will be better able to manage your colors when it comes time to paint.


“Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure.”               – Michelangelo 1452 – 1519


Read Full Post »

This was painted with burnt umber on 300g paper, primed with a clear gesso.

Read Full Post »

Sometimes I will do a small study in a watercolor sketchbook with a paper thickness at around 300g.  I primed the page three times with a transparent primer and then drew the image in. I then primed it once more and set about my painting employing a limited palette. I put a light wash over the drawing using raw umber to establish the overall mid tone.  I get all the dark values in first using raw umber before subtracting the paint for the lighter areas.  You can use your fingers or a cloth or both as required.  Titanium white is then used in the lightest areas and then I use lamp black or a nice bone black for accents and the darkest darks.

I tend to work from the hair into the flesh finding all my local colors and only add refinement when everything is done.

Just remember that the mid tones are neither as dark or as light as should be.  You should work out your darkest darks and lightest lights from your mid tones.

For this little study I used a very simple pallet: Raw Umber, Titanium white and a Light Ochre which has great transparency.

This is a self portrait of William Hogarth.  It is one of his earliest known portraits.  He was a very interesting man; a painter, a printmaker, an art theorist; certainly someone worth getting to know.

Read Full Post »

The original drawing was done in charcoal.  Mine was done in pencil.  I feel that I drew the hip a little too high on the right side but overall, I’m pleased with this little study.

The illustration was taken from his remarkably useful book: The Human Figure.  I would recommend anyone who is serious about drawing to pick this little gem up.

Read Full Post »

I have always felt that Ingres must have studied this painting before executing his own wonderful masterpiece…I’ll leave you to guess which painting I might be talking about!

Read Full Post »

interior    matrials

When not found painting, I’m in my chair reading.  This is the bookish end of my studio and it’s a lovely place to be during a sunny day which is often the case here in Andalusia.

I paint chiefly with filberts (soft bristles, long handles) and favor linen canvasses with a tight weave, though I do enjoy painting on wood as well.

Now, Windsor and Newton produce some fine oil paint but my favorite manufacturers are Old Holland, Rublev and Michael Harding.  Hands down, they produce some of the best paints, mediums and varnishes available.

Read Full Post »

Older Posts »