Painting a painting – Continued – Philadelphia Fine Art. K. Hu art

Just thought I’d pop by and continue my photographic journey through this painting I’m working on.  This is day two…

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I’m working here on darkening everything to match the crazy dark background.  I am refining the colour of the eye and separating it from the shadows there as well.  The lips looked ok here but I ruined them by where I am now.  I am trying to make these bigger shapes look smaller and more detailed because everyone loves detail..

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There is my “inspiration” wall behind the painting.  The still life is by Bart Lindstrom who I had the pleasure of attending’s short class at PSOA in 2011.  I’m putting in the arms.  BIG BIG shapes.

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One thing I learned makes paintings look really lovely is when everything is gradated from the lightest point.  So here I have darkened the arms on their way down from the head, even though it’s not as clear in person, I’ve exaggerated the effect for aesthetic purposes.  Heck yeah.

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Slowly painting the hands mysteriously rising from the shadows

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Or like, big slabs of colour and value.  Whichever…

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I am faking it.  The nails aren’t red in my reference but I want them to match the lips to create a subtle focal point when you get bored trying to find the flaws in the face.  Did I mention that this panel is wicked?  It’s super smooth texture makes the paint really really show up.

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This is where it’s at so far.  The awkward angles are to avoid backlighting and to get it in one frame.  This is the largest painting I’ll have done when I finish.

Overall, I am not sure how detailed I’ll get on the hands as I don’t want them to be too distracting (I’m afraid I’ll ruin them.)   I am, however, intending to draw all the little dragons on the dress eventually.  It’s gonna need layers just due to the nature of the panel.  It should look cool.  I promise to spend so much time looking at it that I can’t stand it anymore until a few weeks later when I go “oh that came out pretty good”

Ok that’s all you get from me for tonight!  Have an awesome week!

 

 

Clementines and Class information – Philadelphia Fine Art

My next Portrait Painting class comes up September 17 and again in October:

http://www.artistsnetworkuniversity.com/courses/painting-the-portrait-level-1

Also contact me for private lessons on the web (yes, I can teach you a lot.)

My next Drawing class in October:

http://www.artistsnetworkuniversity.com/courses/capturing-the-likeness-portrait-drawing-method-for-accurate-portraits

Here is an example of some 4th week student artwork vs. their first week:

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And for your update, here is my finished painting of the clementines:

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I am going to write about drawing soon, just getting some materials together to make a cool post.

A little ditty about how I paint – of course some progress shots – Philadelphia Fine Art – K. Hu Art

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So here is my wicked awesome panel.  I admit that before this I only used panel once and it was alla prima with no wash and it was very weird and confusing.  This time I did a wash, then painted over it and I looooove it.  Really I am so in love with this panel.  I wonder if it comes bigger than this?  Super sturdy, won’t bend.  I put in the rough outline of where my painting will be.  I need this because I want to make sure I can fit in what I want to say, and it helps me learn my painting well.  The more I draw an image the more familiar I get with what the issues will be, the more I can look at them in the future and fix them in my final painting.

Check out my fresh palette.  I use a piece of gray paper taped to some glass.  Glass is easy to scrape but I have to change the paper now and then when I spill my linseed oil on it (being clumsy, this is more often than I would like to admit.)

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Big sexy goops of colour!

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So basically in this one, because I’m fully rendering it out, I am starting with just making sure there is paint all over the face.  Faces are my favorite so I start with them.  I want to make sure there aren’t blank spots, because when I go in with detailed rendering those can show or ruin my drawing.  Ok, I ruin my drawing, but I am gonna blame it on the blank spots.

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fill fill fill.  Checking out some highlights.  There’s a blank spot where the shadow on the nose meets the nose.

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Just fleshing it out more, adding more detail.  The chin I will rework next session.

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Ok so this is my final for this session (session… 2 I guess because I did the underpainting but that took under 1 hour so I don’t know if it’s considered one.)  Here you can see my reference.  Yes it’s not quite there yet but it should be soon.  I spent most of my time on the skin tones on the cheeks, which look good, but kinda ignored everything else.

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I added the black black background in – I should have done it earlier as now the painting looks relatively light compared to the background.  That’s ok, because I need to add a lot of work to it anyways, but I should have figured that out first.  Normally I do and this time I was kinda hesitant because the dress is black.  Why does that make a difference?  I don’t know, probably just made an excuse because I was too wussy to use my cool giant paint brush.

The size of this is something by 24 I think – It is my largest canvas.  I almost always do portraits on 12×16 so this is a big change for me.  Most of this next series will be on larger canvases than I’m used to because they’re all figurative.

WELL that’s all.  I hope I inspired or helped someone somewhere learn something about painting.  Have a rad evening.