Studio Update:

 

Started work on the female half for Lovers, that is at least the temporary title.  This is all drawn from life. The models stand on a chair, and kind of emulate jumping…but more often than not, they lift one foot at a time and hold it for about 10 seconds more or less each time in the same spot.

It is hard to explain what an epic undertaking this project is. The only time I had them together was for the six hours drawing their hands clasped, also $180 later.  I get totally blown away emotionally when parts start falling into place. I will bring her body up to the level of finish of his and yet she should exceed in a bit more detail and more intense mark making to indicate her closer proximity to us.

 

This is a color study, pastel, unfinished for the painting of Kimberly. It is pastel on red paper…it is going very well and I will continue to development it. It is infinitely easier to experiment with color combinations in pastel than in oil.  Color theory for a representational painting dealing with form and light…absolute fascinates me…its hard to explain the rush of feeling when certain colors click: become harmonious; ride the surface of the forms; create spatial depth; and give out a sense of light!

 

Happily back at work on Venus. I had hit a “block” because I wasn’t sure how to get the background colors to “click” the way I would like. Also the painting  was only two toned, scarlet and blue…I wanted to get another color in there somewhere to bridge the colors and create more interest. After the exhibition in Chattanooga and the 80 or so land and seascapes I have recently painted I had a kind of light bulb click that knew to reverse my background color scheme. Originally I had greenish blues deep in the sky and purple tones as the water came closer to us…that simply was reversed to have magenta and violet in the deep background and turquoise for the water closer. I am getting way to technical in my descriptions, but the turquoise near the rocks will encourage to infuse more green and green ochre into the shadows of the rocks and her body…then I will be getting the multi color bridges that I like to work with.

While I was 2 weeks in Chattanooga I painting a few paintings outdoors. Totally different setting than in Florida…all the green, lots of trees, and hillsides…These pieces are so far raw, haven’t signed them and haven’t done a once over—a really good look and a little touch of studio editing.

 

 

 

 

Also in Chattanooga I painted a painting, one in Daud’s paintings. I loved playing and arranging the composition here.

 

 

I haven’t had a change to show the quality framing for the exhibition. Here are two of them.

 

 

That is about it…but tomorrow I am heading out to California for two weeks to paint  more landscapes. And this time I will make sure I have digital images of them.

Later.