Cogito ergo sum...I think...

-

 tinker toy molecule no.2

 12-in. x 12-in.

 oil on cradled panel

 I think that one of the most appealing aspects of the act of painting is that I have time to let my mind wander a little. Not that I don't concentrate on what I'm doing ( remember Albert Brooks in Broadcast News? "I'm singing...and reading...at the same time..."), but there are parts of the painting process that allow for a little intellectual "meandering" occasionally. Things like:

 -Shatner is actually a GREAT actor on the original Star Trek series. I don't know why that part of his career is such a joke. If anything, HE is the "straight man".

-Strandbeest is one of the coolest things I've ever seen!

 -Children's drawings are wonderful and somewhat inspiring!  If they're young enough, a kid will attempt ANY subject because it typically doesn't occur to them that they might fail.

-Do you really have to "register your hands as lethal weapons" if you're some sort of Karate-Master-guy?

-I wonder what percentage of information that is exchanged is "checked" by "Googling" it first?



tinker toy molecule no.2 ( detail view)

 -Bernie Kosar was a great quarterback. However, his "Kryptonite" was the fear of being sacked. All it took was one hit, and Bernie was out for the rest of the game. Its like his bones were made out of pretzels or something...and only he knew this. They call me Mr. Glass 'cause my bones break like glass.

-Are you really a "folk artist" if you have a website and sell t-shirts?

-The Ian Fleming books are fantastic, BUT...this is the one case where I think a movie rivals the book. The character development and backstory are way more evolved in the 2006 film version of Casino Royale than Fleming's book. Why did Felix never get his own series?

-John Malkovich was in a Transformers movie? He must have a really big house payment or something, right? Gambling debts?

-The guy who "sold" the idea that the cargo-short was an acceptable fashion choice to the American male needs to be shot in the head! Oh, the porkpie hat-thing needs to go too. Either we all wear hats or none of us do.

-If Steve McQueen were alive, do you think he'd be the kind of guy that would spend a lot of time..."updating his status"? What does this mean?

The answer is "No".  You don't have to "register your hands as lethal weapons" if you're a Martin Kove kind of guy. There is no such law in the United States. I just Googled it. Pin It Now!

ottosaurus wrecks

ottosaurus wrecks
18-in. x 18-in.
oil on cradled panel

 I actually had to make this dinosaur. Well, by "make" I mean I had to buy it and cover it with a juicy red spray paint. I wanted something that had a similar attraction to the way that a cherry ChapStick makes you want to take a bite out of it. Anyone?

 This is also the reason that I painted this in a series of transparent glazes over a monochromatic underpainting.



ottosaurus wrecks (underpainting)
18-in. x 18-in.
oil on cradled panel

 I used Gamblin's Galkyd with a little ( 10-20%) of Gamblin's odorless mineral spirits as my medium in addition to my paint. This gives me a lean and somewhat matte surface that dries fast. This matte finish also gives the transparent colors a nice "toothy" surface to grab as well.

  When the surface was completely dry, I applied the paint with Galkyd and a little stand oil to add some "slip" to the paint. Also, the principle of "fat over lean" builds a dimensionally and chemically stable painting surface. Oh, when I say "little", I mean no more than 10% oil. Any more than 10% oil to the mixture will cause the paint to "buckle". When I say "buckle", I mean that it'll look crappy and uneven.  You should think in terms of a stained glass window, or series of colorful panes of glass applied over a black and white image. Each layer of glass adds a little more depth. You should also be mindful not to use too much medium. Let the color do the work.

 The great thing about this approach is that although it seems a little formulaic, it really isn't. With each glaze of color, the painting gets just a little richer to the point that it becomes almost addictive. You never really feel like you're finished just because it's so satisfying to caress the surface with another layer of succulent color. The act of applying more paint eventually becomes a little self-indulgent pleasure that continues to fulfill as you follow the form.

 I can see why it took Axl Rose so long to finish Chinese Democracy. Each time you "polish your apple", you get the wildly intoxicating sensation of the promise of a little improvement. The problem is that you need to put it to bed at some point and move on to something new.

 Oh, by the way, that album is awesome! Yeah, it took 15 years and cost over 13 million dollars (incidentally, the most expensive record ever made). How can you go wrong with SIX lead guitarists ( one of which who might just be the musical wunderkind Buckethead)? Pin It Now!

Never roped a steer cause I don't know how...

...and I sure ain't a fixin to startin' now!






I'm a cowboy who never saw a cow
18-in. x 18-in.
oil on found paper


  I come from a long line of craftsmen. Well, I suppose the term "craftsman" might be used a little loosely in some cases, and perhaps the term "hack" might occasionally be a little more apt. Other designations could be things like "good with tools" or "knows his way around the business end of a( insert name of tool)". I kinda like to think of myself as having a little breath of all of these descriptors.


   My grandfather was a drunken loser who killed himself with cyanide.

  Okay, let me back up. My grandfather was a jeweler who, on occasion, "took to the spirits". One evening after a series of tragic ( and I suspect comical) drunken "misadventures", old "Pa" guzzled down a pint of gold-plating solution. Gold-plating solution contains cyanide. Gold-plating solution also has a giant skull-and-crossbones prominently emblazoned on the bottle with a series of fairly straightforward and "easy to read" warnings indicating the outcome if you should happen to drink this shit. 
  This happened in 1977. Incidentally, the same year the Bing and Elvis died. So... I guess you could say it was a pretty rough year for the Lange family. Here are few vignettes that might give you and indication of what sort of guy he was:


-He was proficient at darts, bowling, poker, and shooting pool. Hmmmm? What do all of these recreations have in common? Survey says...DING! "Things that are found in a bar".


-His proposal line to my grandmother was,"Marry me, baby! You're built like a brick-shithouse".


-Once, I was riding in a car with him, and I opened the glove compartment. I noticed it was completely filled with salt and pepper shakers. When I, a 6 year-old boy, asked about this his reply was,"Ah, I got some shitty service in a couple of restaurants".


-When my dad told him he was marrying an Estonian, his only response was,"Is that white?".


-When my dad was a little kid, Pa took the family on a vacation, and he ended up "disappearing for a few days". "Disappearing for a few days" is a family code for: he got drunk and shacked-up with a hooker..." for a few days". Pretty sad. However, it gets better. When he finally came back, the kids ( my dad and his sister) asked if they could go to the carnival that was going on in town. His reply was,"Nah, we ain't doing that shit! I went yesterday and it sucked!".


  Okay, all of that being said. "Pa" had a few artistic leanings. He made these cool murals on the walls of the basement where, frankly, nobody would ever see them because he was embarrassed or something . "Pa" wanted to keep his painting "in the closet," so to speak. I think the exact quote was,"Hey, just because I like to paint it doesn't make me a 'fruit'!".


  There's a point in here somewhere, right? My point is that I've always been fairly dismissive of "outsider" art and anything in that milieu, but I think I've been a little closed minded about this. Yeah, whatever! I guess the need to make "stuff" apparently will surface irrespective of social or practical restrictions. I'm going to try some new things. 


  My "inspiration" ( and I hate that word) for this painting and some of my newer work involves using "found objects" ( I hate that one too) as the support for my imagery. I want to try to make some things that fit within the arena of "what if this is all I got to use, man?".


  The restriction of the actual fragility of paper as well as making the composition harmonize with existing text and imagery is also appealing to me. Paper is particularly challenging due to the fact that I also want to make paintings that are completely archival, and there's A LOT of preparation to ensure this. I also refuse to use acrylic paint. It feels like cheating or something, and I know I can navigate through the chemistry to make it work with oil paint. 


  I'd like to think that old "Pa" might have secretly been a little proud of things I made over the years in spite of the fact that he would have also suspected that I was... a "fruit".


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oui oui oui (all the way home!)

oui oui oui, 2012

oil on cradled panel

12-in. x 12-in.

I've actually kind of always identified with the cartoon characterization of the pig. He likes a good meal, a fair amount of napping, and he's clearly intelligent.

I say intelligent because this version of the pig doesn't spend a whole lot of time "cleaning up" (i.e. he's a slob). This little character trait is one that I valiantly defend with one of my favorite contretemps of all time:

Being overly neat and organized is illogical!

It's illogical and I can prove it with my old pal...SCIENCE!

The Second Law of Thermodynamics ( Entropy) tells us that in a closed system (let's say...hmmm...my house, for example) the clean, tidy, organized version has low entropy. All of my books are on the shelf. My oil paints are organized by brand, color, and opacity. My little toy cars and robots are neatly arranged in a decorative, carefully arranged fashion.

We would say that this version of my house has low entropy. The "neat" version is one state of an infinite possible variation of states where all of the other versions would be described as messy (or high entropy). The entropy increases relative to the degree of disorder relative to that ONE ordered state.

So, for me to return my messy (and more natural) house to the ONE ordered state that everyone thinks is SO important, I will increase the entropy (and disorder) due to the expense of energy required to return it to that state. The high entropy state is more auspicious (and natural) than the low entropy state.

I win!

Thank you, Science! I dearly love you.

Little pig, little pig, let me come in.
Not by the hair on my chinny chin chin.
Then I'll huff, and I'll puff, and I'll blow your house down! 
-The (Big, Bad) Wolf

This is not to say that my lovable cartoon piggy doesn't have his failings. He might be a little lazy, AND... possibly a poor craftsman. All of the extra time he collects through not expending (wasting) energy tidying-up should be used wisely.

Time is valuable, and look at all of the energy we didn't expend to get more of it!

By wisely, I mean he needs to spend that time building things that any jerk (or Big, Bad Wolf) can't easily dismantle (or "blow").





I guess if we take anything away from this short film it would be the validation of the rumor that The Big, Bad Wolf does, indeed, "blow"!

Here's a little movie I made using a more direct painting method where I apply the paint directly as opposed to a series of layers or glazes. One lady emailed me to let me know that she found my commentary "annoying". It probably is.

 

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tinker toy molecule no.1

tinker toy molecule no.1, 2012

12-in. x 12-in.

oil on cradled panel


The tinker toy set is really kind of cool. This is the 1957 version with the different colored "sticks" as opposed to them being all red.

That's not the cool part.

The cool part is that the set is inspired by the Pythagorean theorem, and the sizes of the sticks increase relative to the holes on the spools to equal the square root of 2. This enables you to make right triangles that consist of two 45° sides and a 90° one!

I feel a little sad for the 21st century kid. Many have stupid names ( and we all know what I'm talking about...), and are stylized by mommy and daddy like some kind of accessory item in order to make mommy and daddy appear like "the cool parents"... which, sadly, they are not.

Seriously, does every 9-year-old boy need to look like he's a member of Blind Melon?

That's not the sad part.

The sad part is that the 21st century kid's toys, quite frankly, kinda blow. They don't really have any toys that foster any level of creativity or imagination. Lincoln Logs, Legos, and primary-colored building blocks cannot eclipse the blinding radiance of the Nintendo 3DS. Even that dumb-ass Vincent Price Shrunken Head Apple Sculpture-thing got you to carve an apple into a creepy little head!

I'm not saying I didn't log-in a few thousand hours playing Snafu on the Intellivision, but I occasionally picked up a crayon too.



Actually, now that I think of it, why would the game Snafu have held my attention for thousands of hours? The Nintendo 3Ds IS way cooler! Pin It Now!

Litany for the City

My painting Songbirds is the cover art for the book Litany for the City by Ryan Teitman and is available for pre-order on Amazon.

Yes, this would be a poetry book.

Admittedly, most of the poetry that I'm au courant with is typically five lines, and often includes words like "Nantucket", "Lunt", or "Frick".

Here's a little part of one of my most favorite poetic works by Joseph Elliot:

You got the peaches, I got the cream
Sweet to taste, saccharine
'Cause I'm hot, so hot, sticky sweet
(Hot!)
From my head, my head to my feet
(Head!)
Do you take sugar, one lump or two?

I've pondered this very passage for more hours than I can recall. I think that the emphasis of "Hot!" and more importantly "Head!" truly explicates the primitive human impetus for male boosterism. It also forces one to delve deep into our very essence and ask the vital questions that we have ALL asked ourselves at some point in our lives:

Do you take sugar?

If you do, is it one lump...

or is it two? Pin It Now!

1971 or... when I was one ( year old)... "it was a very good year".

1971, 2011

24-in. x 18-in.

oil on cradled panel

The 1971 Coca-Cola can was stainless steel AND aluminum ( pronounced AL-oo-min-U-um, right? ). 1971 also means...

-dumb little hat?

-fighting crime in a Santa Suit?

-watching Roy Scheider smoke 8000 cigarettes ( and look cool doing it!)?



1971 means The French Connection, baby!






1971 might also mean...

-shooting a guy with a mouth full of food?

-having pseudo-porn style hair... and still being a cop?

-elevating being a smart-ass to an artform?

"I know what you're thinkin'...", 1971 also means Dirty Harry!




Oh, and 1971 also means one of the greatest albums of all time!!



Only YES can get away with an eleven minute "single".



1971=Awesome! Pin It Now!

You can beat me up, and I'll still end up looking good!

I'm in a group show at Mason Murer Fine Art this month called "The Real Thing" commemorating the 125th anniversary of Coca-Cola.



You can beat me up, and I'll still end up looking good!, 2011

40-in. x 30-in.

oil on cradled panel

This can is a 1960's-early 70's "swirl" version that is aluminum AND steel. This is why part of the can is really rusty and the body is in nice shape. This also has a pop top as opposed to the push-pull-flippy thing we have now.

I had a pal named Mike give me the alternate title 12oz. of Awesome!, but I was more focused on the fact that the Coca-Cola logo is so strong that even when you break it down it still looks beautiful ( and even more importantly, identifiable).

Believe it or not, I have my own fairly rigid little method to my own Coke drinking. I like it in a glass with ice, BUT... I like it in a particular way. The glass must be a heavy weight short tumbler or lowball glass. The ( ice cold, NEVER room temperature or warm) Coke should be poured into the glass to roughly the 3/5ths mark. Then, three square ice cubes should be added to the drink, and NEVER the other way around. Enjoy!

FUN FACT: Coca-Cola WILL NOT, I repeat, WILL NOT revive a dead hooker! It will, however, do the following:

-Remove blood stains from clothing!

-Cure nausea! A flat Coke will help you get through the task at hand!

-Dissolve teeth ( AKA evidence!)

-Tan your skin, AND curl straight hair. After all, you might need to quickly change your appearance for that "unexpected" flight you'll be making to Brazil... forever!

Okay, enough of that nonsense. Honestly, I really just put that little part in to see if anyone is actually reading these.

Hey, I've got an idea! Let's watch David Nelson get treated rudely by an insane, and aptly titled, "soda jerk"!

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Red Zeppelin I - part two

I finished the second part of my Red Zeppelin I painting movie. I'll "touch up" the background a little ( okay, a lot) before moving on to the actual zeppelin part. I used Gamblin Oil Colors and Galkyd for this painting. The paint is loaded with pigment, and the medium "levels" nicely. In the background ( noise, not the painting), you can hear Frank Lovejoy in Nightbeat. I've got a link to all of the episodes on the side there, and it's pretty good ( and funny) to listen to while you work. Oh, William "Cannon" Conrad usually shows up as either a punch-drunk boxer, effeminate lawyer, or gravel-throated "heavy".

Nightbeat, Dragnet, and Philip Marlowe are don't hold a candle to the greatest private-eye show ever. It might just be a little 30 minute gem from the 1959-60 television season called... Mickey Spillane's Mike Hammer.



Darren "Carl Kolchak" McGavin plays basically... Carl Kolchak with a gun, a cooler car, and a giant set of balls ( he might even have three!). He narrates the show... just like in Kolchak: The Nightstalker, and it looks great! Every scene is a German Expressionistic black and white treat. All of chicks are super-hot, and all of the bad guys usually get humiliated before he beats them up and/or kills them. There's a vague suggestion of a Bob Hope-I-know-I'm-just-a-character-in-a-T.V-show-but-nobody-else-knows-thing going on too.



"Yeah, alright! Tough-guy and all that. Let me finish my sandwich first!".



Do real men drink Daiquiris?

"They do if I say they do!" - Darren McGavin Pin It Now!

atomic disintegrator part II

Atomic Disintegrator Part II

18" x 24"

oil on panel

The 30's and 40's were pretty optimistic about how super slick our lives would be around... now. Donald Fagen had a similar idea with the flying car that made organic food and was so fast it took "ninety minutes from New York to Paris". Nobody would really have to work, and our lives would be filled with super-saturated color. All of our problems would be solved through technology.



We would have jet-packs and flying cars! We would wear super cool jumpsuits like Barbara Bain and Barry Morse in Space 1999.



So... things didn't really work out that way. No jump suits, but we do have Spanx for men. No awesome Dick Tracy wrist-communicators, but we do have awkwardly large cellular phones that are too big to fit in your pocket ( unless you wear some sort of "cargo shorts" which, quite frankly, NEED TO GO!). C'mon! Can you really see Cary Grant or Steve McQueen in a pair of these things?

Wait! What was I saying? Oh yeah, the phones. They also annoy the shit out of you every 30 seconds, break if you drop them once, and don't really work well as a telephone.

I guess I'm being narrow-minded when I whine about the fact that the general public is NEVER going to be allowed to have access to a jet-pack or a flying car.



These are WAY better, right?

Sorry, I know this one was a little ranty. I'm currently in a cargo-short "tolerance program", and I know with your support... I'll make it! Pin It Now!

atomic disintegrator part I

Atomic Disintegrator Part I

18" x 24"

oil on panel

The Buck Roger's Atomic Disintegrator XZ-38 version was made by Daisy ( the B.B. gun people) in 1935, and is essentially a "pop" gun. It has a little flint in the top that sparks, and the piston drives an arm up to make a popping sound.

A really, really LOUD popping sound.

It is the KING of all toy space guns. The Wyandotte and the Hubley are really cool, but this is the quintessential icon of heroic inter-planetary defense weapons. It's super annoying and... super awesome!

I got pulled over by the local cop once. Actually, he flashed his lights at me and then I instinctively pulled over. He drove up behind me and said he was "just sayin' Hey!". I half-ass remembered that it was some sort of law to tell the cops that you had a gun in the car. I pulled out my XZ-38 and he looked at it, gave me a funny look, and he indicated that this didn't really "qualify" as a gun.

Whatever, dude! It's super annoying and... super awesome!



This is one of the actual patents for the Atomic Disintegrator. It's kind of a work of art in itself. Pin It Now!

bing bang theory

bing bang theory

24" x 24"

oil on cradled panel

I had originally been thinking of the Big Bang singularity and the many theories revolving around the consistency of the rate of expansion. I think it's, quite frankly, fascinating:



I'm now kind of leaning a little towards the fact that this is a great example of Chaos theory where the random pattern is the most natural state. Right?



big bang theory ( detail)

You know, like, to make a consistent effort to continually "tidy up" your workspace is going against nature. I'm not talking about half-eaten sandwiches and a rusty hubcap on your dining room table or anything, but running around like Felix Unger ain't where it's at either, baby! Pin It Now!

Red Zeppelin I

I've been thinking about doing a series of these for years. I like lobby cards and commercial illustration from the 30's and 40's. One of my favorite paintings of all time is a conceptual piece of Superman ( for the radio show) by H.J. Ward from the early 1940's. This hung in one of the board rooms of DC comics until the 1980's. The colors are rich golds and violets that seemed to be a little better than "real life". Hey, dig where this thing turned up!



Superman, 1940

60" x 45", oil on panel

Apparently standing off the coast of Honolulu or Oz or something?

I'm working on the second part of Red Zeppelin I right now, but here's where I am at up to the end of the first sitting. I used a mix of Burnt Umber and Burnt Sienna with no medium. Fat over Lean, baby! As I add more layers, I'll use more and more medium which in this case will be Galkyd from Gamblin. It's a rich honey in color and consistency, and it levels beautifully! It's also very, very quick drying.



Red Zeppelin I, 2011

30" x 40", oil on cradled panel Pin It Now!

Matre Gallery show on November 12, 2010

I'm pretty happy to be represented by the Matre Gallery in Atlanta, GA. I'll be showing some of my paintings in the 15th Anniversary Show on November 12th, 2010.



One really awesome aspect of this is that now Don Johnson ( aka Sonny Crockett ) and I have something in common. I would have preferred that it was our really cool hair, but we see how that worked out. Check it:

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Monster Bash in Atlanta

"does this suit make me look fat", 2010
24" x 24" oil on cradled panel

Wow! Actually, I'm not really sure that I can say anything that appropriately captures the whole experience of the "Monsters" opening at Kai Lin Art in Atlanta on July 16th. Here are a few pictures of the action:



Jon Arge did the "Monsters" window. He also had a Batman that was in the show as well as many other cool pieces.



See the Batman? Also, Solongo Mellecker's painting "No Pets Allowed" is there too. It's funny because I usually use a Komodo Dragon as my goto example of an endangered species. Example:

Hey, give me a break with the whole "green" thing! It's not like I'm frying up a pan of Komodo Dragon steaks or anything!!




Note: my work is also prominently located by the bar.



Oh, yeah, and another thing I learned that night is that I'm apparently not attractive enough to be gay! You know I learned to live with the whole too-short-for-pro-basketball-thing, but every time I feel a door closed in my face it still stings a little, you know?



At this point, it's still light outside...



Some people kinda ran with the whole "Monsters" thing and actually came in costume. I, once again, didn't get this memo and got left out of this part of it. It's kind of a shame too because I had my 1966 Ben Cooper Wonder Woman all laid out and everything.



Actually, this is Dante DeStefano who had several awesome little "Monsters" in the show as well as an installation on the wall.



At this point, it's 118 degrees inside...



"The joint was jumpin' like the Sands"! Pin It Now!

The Taming of the Candy Monster... in Atlanta on July 16

There was a book in the 70's about how too much CANDY ( "Continuously Advertised Nutritionally Deficient Yummies") was killing the children of America, and that this CANDY was... a MONSTER! The funny thing about this little cookbook was that there were tons of recipes that contained huge amounts of sugar. Wouldn't this be a... SUGAR MONSTER?

The Candy Monster really wasn't too much of an invasive predator in my home as a kid. However, I can tell you who was more of a problem for my sister and I. It may have been the... "NO" MONSTER! My parents weren't really at the mercy of any candy commercial to the point of making a homemade Snicker's out of soybeans and molasses. They just used the word "No!"... a lot.

This may be where my ongoing battle with the "NO" Monster started. The "NO" Monster has been a WAY bigger threat to my personal happiness both as a child and now as a larger/older person. Things like:

"No! We do NOT drink out of the toilet!" ( I remember doing this when I was three years old ).

"No! We do NOT take Holiday Inn towels to Boy Scout camp!" ( I totally get this one now ).

"No! We're not getting a monkey! ( Ron Ely made it look so cool!).

Or, today, where the "NO" Monster rears his ugly head in an attempt to spoil my fun:

"No! We are not spending $25,000.00 on Christopher Reeve's costume from Superman III" ( actually, I should have scraped up the bread for that one anyway. I was totally cool! You know, the "dirty" costume where Superman turns slightly evil during the movie).

"No! We are not going to 'suspend' everything and follow RUSH's tour across the U.S.!" ( Limelight never gets old, baby!).

"No! We're not getting a monkey! ( I do NOT get this one).

Either way, I'm going to be in the MONSTERS show on July 16th. I don't have any monsters, but everything I've painted is over life size ( kinda monster-like, right?). My colors are rich and tasty ( like candy).

Okay, I've got one. Hey, check this monster out:

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"A Man's got to know his limitations"

Here's a cool little demonstration of the potency of using a limited palette. I went over to talk a little "shop" with my pals at Studio Products today and they showed me a kit they've developed for landscape painting that has only four colors.



The colors are Sunshine ( a fairly neutral pale yellow kinda like the Sun), Sky ( a fairly neutral pale blue kinda like the sky), Magenta, and Cobalt Green. Okay, check out the nice range that this group of colors can generate.



Oh, and I didn't forget the young lady who asked me about how I "fix" my drawings before I apply paint. I use this Cat's Eye Retouch Varnish. I spray a thin mist over the drawing and wait 24 hrs before I start painting. This is better than using workable fixative or Aqua Net ( yes, you can use Aqua Net) because it's basically Damar varnish.

My wit-well is a little dry, so I'll leave you with this. Feel free to break up into individual discussion groups afterwards.

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Hey, I can do this for hours! Tutorial: part three

I noodled around with the underpainting a little more, and then I roughly glazed a blue into the background. I actually just painted the stripes to illustrate the power of the underpainting with a glaze of color over it. Ordinarily, I would have painted this area in one "shot" and would have worked a little more opaquely. Notice how the glaze is really affected by how dark the underpainting is. I really mix a lot of medium into the paint for a nice gloss. I've been using the Studio Products mediums, but I also like Galkyd or the generic traditional old master recipe ( 1/3 linseed, 1/3 turpentine, and 1/3 Damar ).



Next, it's time to really get into the color. The real beauty of this method for me is that it is VERY forgiving. Right now, you've basically got a monochromatic version of your painting. You could continue to paint in a more direct and expressive style, or you can reign in those German roots and tighten things up a little. Also, this is really where color harmony and balance come into play. You're interacting with the temperature of the background, and you're glazing colors on top of one another in order to create a tertiary level of depth.



At this point, I play with this thing forever through adding and "lifting" color until it feels done. I'll probably sand this thing off and use this board again due to the fairly sloppy way in which I executed this painting ( not to mention the fact that "a pair of pears"... may... not be my zenith of creative intensity). I hope this is helpful to the people taking my workshop next week.

Hey, I've really got only one more important thing to add:

"When Karate and gymnastics are fused, the combustion becomes an explosion, and a new kind of martial arts superhero is born...Gymkata!"

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Let's get it wet! Tutorial: part two

At this point, I'll monkey around with my drawing a little, but for the most part I'll make "real" corrections in my painting. After the drawing, I'll make a wash of some sort of earth tone ( usually Burnt or Raw Umber diluted with a little mineral spirits or turpentine ).



Okay, let's talk about turpentine. Turpentine is nasty. Turpentine evaporates into the air quickly and it can get into your bloodstream even through healthy, unbroken skin. Odorless mineral spirits are a safer alternative ( Gamblin's Gamsol is good), but they are also a petroleum product and are by no means "safe". So, here's what I do and why I do it. I use OMS for brush cleaning. It's cheap and works well. I use judicious (i.e. very, very small ) amounts of turp for my actual painting, and usually only in the early stages for underpainting. Turpentine doesn't cloud like OMS, and quite frankly, I like a little hint of the sweet smell of it in my workplace. I also encourage you to use pure gum spirits of turpentine, and not just some crap from the "Home Store" ( they always say that on This Old House even though Lowe's is a sponsor ).

You also don't really have to use solvents with your painting if you're concerned about safety or you have allergies. You can use M.Graham's Walnut Oil Medium which is fairly safe ( it's basically a cooking oil) for your medium and you can use just about any kind of natural oil to clean your brushes with.

So, if you want to use turpentine, open a window and be careful with it. If you tend to handle hazardous materials in a Jerry Lewis-like fashion, then use something else. Okay, enough of this.

After my underpainting is dry, I "build" my underpainting with a monochromatic ( one color) foundation or grisaille. I'm really only concerned about values here, and I try to use the warm earth tone to guide the temperature of the composition. This example is fairly quick and dirty, but I usually spend most of my time in this stage. One point to remember is that you'll be glazing layers of color over this underpainting, so be mindful of the fact that you want this too be slightly brighter so that the colors don't effectively diminish the light when you apply them.

I used a grisaille set from Studio Products that has the greyscale values pre-mixed in accordance to the Munsell Tonal Chart for this tutorial. This set is fantastic if you want to make subtle variations in the background that will "shape" the colors when you glaze. I made up a little striped wallpaper backdrop to illustrate how precisely mixed greys can accelerate this process.




Okay, let's talk about neutrals and greys. I like to mix neutrals myself from color relative to the composition with the primary focus being on simultaneous contrast. I really believe that employing this in your painting makes it come to life . Take away any silly little joke that might be the thrust of my painting and you'll still have this operating on a subconscious level and effectively engaging your viewer. See? You can wash my mouth out with soap and I'll still have a little something to say, baby!

So what I'm trying to say is DON'T just use black and white. It robs your painting of significant depth and it's lazy.

Here's the grisaille. I'll leave this alone for five or more days to dry. The next step is adding color.



While I'm waiting for my painting to dry, I like to watch trailers for really bad movies. Here's one right now:



My favorite line here includes the phrase "caught between a dangerous loser... and a girl... they both love".

I mean, we've all been there, right? Pin It Now!

quick and dirty tutorial

I'm doing a two-day workshop in May, and I'd like to post a little demo of my process for the people in my class. I'm sticking to a simple subject in this demonstration, but we'll do something a little more involved in the workshop.

Here are a couple of pears ( or, a pair of pears, I guess) that I played around with on my table and arranged for my drawing.




I typically use Wolff's Carbon Pencils for drawing just about everything. They are super black and they handle really nicely relative to a General's ( which I also use, but they're a little more crumbly... for me).



I'm using a gessoed panel ( from my pals at realgesso.com ) that I made an oak edge banding for. I like these with a thicker band for a couple of reasons: they are easy to handle when you paint ( as opposed to a regular panel), they are ready to hang, and... if you dare... they can sit on a mantle or a bookshelf.




I loosely sketch my composition and then I'll glaze an earth tone with a little turpentine ( or mineral spirits). This will give me a nice "tooth" to start my Grisaille monochromatic underpainting.



My next post will show the progression of the underpainting and balancing tones for the glazes of color

Oh, yeah, I almost forgot. There are times when I find inspiration for painting through the carefully crafted work of others. The subtle nuanced layers of certain films inspire me to reach higher and push my medium as far as I can. This "film" is one such example:



Hey, is it me, or does Ed Lauter got some kind of neck-thing going on here? Pin It Now!