Practice: cette catégorie de mon blog contient les articles qui parlent de comment je crée mes œuvres d’art.

Painting portraits from photos

I work from photographs I take myself in order to make my paintings, but, depending on the kind of portrait I intend to make, the photo shoot varies.

 

Partner

In the paintings of my own family for Subjective, it was important to me that the the portraits contain essential details about my relationships with each of my family members.  In this way David’s portrait was especially fun to work on. 

Working on many paintings at the same time

My sweetheart helped me put together two time lapse videos of me working on a handful of paintings.

Portraiture’s formal tradition

Painted portraiture has a reputation for being stuffy and formal.  While this unfortunate characterization has some truth to it, it’s important to see it in the context of the genre’s history.

On painting kid faces

Children are tricky subjects for a myriad of reasons.

Getting it right

Sometimes, I start a painting one way and it finishes very differently.  But that’s in the nature of things where painting is concerned.  It’s part of the eternal quest for an undefinable “done-ness.”

 

The opposite of “a painting a day”

My work takes time.  Far from a painting a day, I like to develop my paintings over the course of a year, ensuring that there’s at least as much time as there is paint in the layers that I put down on canvas.

Blind collaboration

Becca and I made up this term to describe our strange sort of collaboration.  Though we teamed up to conceive Subjective and later to work on the logistics of mounting and touring the show, we were, for the most part, artistically independent of each other in our partnership.

Relating and portraiture

One of the most interesting aspects of working on Subjective has been learning about how my relationships with my subjects affect the finished portraits.  I always knew that they did, but it wasn’t until I sat down and performed this experiment on myself that I understood the full extent. 

The brush makes the painting.

I’ve always been particular about all the different tools I use in my work, but, more than any other brush, the Da Vinci Cosmotop Spin Flat Wash Series 5080 size 60 have changed the look of my paintings.  Finding these brushes was a revelation: they forced me to re-evaluate the way that I put paint on canvas. 

Drip

Besides crosshatching, the most obvious and characteristic aspect of my mark-making is the drip.

Crosshatch

Overlaying lines isn’t just the way I love to make a mark.  It’s also useful for making a good likeness.

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