Anyone who has had almost any contact with me might recognize that I struggle with subtlety. For this post, I asked my witty brother Paul to give me a comparison for how subtle I am. I was looking for a phrase other than the overused “bull in a china shop” visual. Granted I caught him while he was rushing out the door to the airport once again, but he delivered a few quips not unlike our family’s humor (on a bad day). So, apparently I am about as subtle as a:
- ...fart in an elevator
- ...streaker in church
- ...boner at the playground (ok, that's gross, but I can't help the brainstorm)
- ...punch in the nards
I have been thinking that maybe my approach is ALL WRONG! Instead of trying to portray myself accurately, but perhaps more charmingly, why not try to improve my skills in being subtle?
So, here is my latest painting study in oil. This one is an arm study from a live model. I used a toned canvas that I prepared in advance a couple of weeks before. And while the project is the paint the arm, one must paint the tones surrounding the arm because … everything is relative. This study was done at the new location of the Angel Academy of Art in Florence, Italy. There are dark green walls behind the model, designed specifically for their programme.
Anyway, I quickly show you the steps for my painting of a woman’s arm. I first sketched in oil the gesture and shape before designing the shadow shapes. I drew in the shapes surrounding the arm – her robe wrapped around her waist and parts of the chest. I then put in my first guess at the background tones so that I could better relate her skin to those other forms in context. For this study, I am only concerned about getting a rough estimate of the proper hue. I really want to get the proper relationships in tone. For example, I wanted to note how the shadow side of the lower arm relates to the shadow that falls on the robe right next to it. Or how much lighter the arm is than the background.
I have then laid in, using the fat part of the brush, not dabbing the tip, the shadow shapes on the body. Then I can add the basic flesh tone I created for this project. The next step is designed to help me figure out warm/cool relationships. You might notice in Images 2 + 3 how high a chroma the transition tone that I created has. I need to grey my basic flesh color, so that as it darkens , it also cools in color.
With each pose (of about 25 minutes) session, I refine my tones and hue, and even correct the shapes. The color is not accurate (the model has a more yellow complexion, for example), but the relationships are and hopefully you see a more 3-dimensional looking arm.
Saturday April 28th,
10am - 5pm
Via Nardo di Cione 10
Where visitors will have the unique opportunity to observe the working studio and meet faculty and students.
The Angel Academy of Art
Via Nardo di Cione 10 50121 Florence Italy
Tel./Fax 055 - 246 6737
New Blog http://angelacademyflorence.wordpress.com/
Please check out The Academic Process lecture on YouTube. Here is the link: http://www.youtube.com/watch?v=DsiP2pUT2qQ