2

drawing-the-headSince I’m starting my new portrait class this week, I thought I’d post a drawing of a person.  There are some tricks – the eyes are in the middle of the head.  Go ahead, measure and see.  I like to put them in, then draw triangles underneath which create the smile lines.  Actually the smile lines are from the cheekbones.  Under the bottom lip there is an area before the chin line.  I like to call it the bow tie.  The area above the eyebrow protrudes some because the bone above the eye socket sticks out.

When doing the face look to see where the top of the ears line up compared to the eyes, then the bottom of the ears to where the nose or mouth are.  Usually the edge of the mouth is straight down from the pupil of the eye.

When drawing a face, have a light on the subject so there is light and shadow.  It will give the drawing or painting depth.  You can see the shadow on the right side of this drawing.

3

pleasant-run-bridgeThis painting is the one I was doing on my April 19 post called “En Plein Air.”  It is of the bridge over Pleasant Run, a stream running through Indianapolis.  Note the way that certain colors portray light and shadow.  The sunlit part of the stream and rocks have a yellowish glow, while the shadowy part in the foreground has a blue or violet shade.  Atmospheric perspective gives depth.  The tree on the left appears to be in front of the bridge.  The woods in the distance underneath are painted with less detail and color intensity.  I wanted the viewer to be able to imagine walking down the stream.

6

Here is a group painting of a grandfather with grandchildren huddled around him.   What gives this painting strength is the arrangement of persons.  They are in a circle, grandpa furthest away, two children further towards us, and one little girl closest of all.  There is a feeling of depth.  Also notice the angle from the person on the left to the little girl on the right.  The group of people make a shape while the drapery creates an opposite one on top.grandpa

Note the highlights in the hair with small hints of color.  The skin isn’t just one shade.  There are highlights and shadows on the faces.  The closest child and the two persons furthest to the left lean toward the center where Grandpa is pointing at something.

3

the-bayGrandma had died.  I flew to California to be with relatives and attend the funeral. When it was over I felt lost and lonely.  My father knew I’d never seen San Francisco.  He rented a car.  We drove downtown.  I loved my dad.  It was great to be with him. We ate shrimp at the pier.  We rode the cable cars.  He and I went up Coit Tower to see the city.  We drove down Lombard Street.  I bought a souvenir in Chinatown.  We went to a hotel on the hill.  It had a glass elevator on the outside.  We rode it to the top and saw the beautiful city.  We went back to the car.  It was alone on the road.  All the other cars were gone.  We had a big traffic ticket.  I still missed Grandma, but at least I had my dad.  He’s been gone almost twenty years now.

This painting reminds me of him.  Note the buildings are like blocks standing on end.  I’ve given the feeling of sunlight with shadow on the side.  There is a great contrast with the dark clouds over the bay.  The bridge stands in the center of the background.

5

en-plein-air2One of the techniques of painting is called “en plein air”.  The English translation is “open-air”.  It was made very popular by the impressionist painter, Claude Monet.  During his day, the accepted forms of painting were of religious, historical or mythical scenes.  Landscape paintings painted on site were not common, nor were they acceptable.  Monet made them popular.  He would paint scenes of the sea, of rivers, his lily pond, and grain stacks in the countryside.

If you have ever seen artists outdoors with their French easels painting scenes in front of them, they are doing “en plein air” paintings.

This is a photo taken of me this past Friday along a creek in Indianapolis, Indiana.  I very  much enjoyed the experience of painting while the birds sang and the breeze slowly blew past.  I heartily recommend trying this type of painting.  It is tricky in one way – the sun seems to move too quickly across the sky so the shadows constantly change.

3

norene-demoIn tonight’s painting class I was going to teach the students how to paint skin color and do faces.  I had a painting I had been working on to show them the techniques, but remembered I had a small canvas in the back seat of my car.  My wife was in attendance so I asked her to pose while I drew.

I first started with an oval shape then drew in the facial structure – eye sockets, cheek bones, lips, brows, chin, etc.  Next I drew the shapes of values – dark under the nose, above the eyes below the brows, under the cheekbones; light – where the highlighted areas were, on the chin, the cheek and on the forehead.  The medium values were everywhere else.  I mixed three shades of color using alizarin crimson, yellow ochre and white to come up with the skin tones.  I painted the dark values in first, then the lightest, then the medium.  Soon the face came to life with real structure.  I was pleased.  The students were too.

3

I love doing cityscapes!  I love painting cars!  This painting shows atmospheric and linear perspective.  The atmospheric perspective is shown by having a big car nearest us with detail while the cars further away are smaller and less detailed.  The same is true with the streetlights and trees.  The linear perspective is shown because the street is wider at the front and goes narrower the further you go.  Both types give depth to the painting.

Another technique used is reflected light.  Look at the left side of the large white car.  It has a pink glow on it from the road.  Further ahead you’ll see some yellow windows in some of the vehicles.  That is reflection from trees.  Notice the road is painted deeper red in the shade, but a yellow shade in the sunlight.