Figure #4

"Figure #4"

pencil on paper, 2010

10" x 8"(25.4cm x 20.32cm)
For Sale at Daily Paintworks, CLICK HERE

Here's a linear figure sketch done from my head, no model or reference. Something I plan on doing more of in the near future, getting back to the simple pleasure and joy of drawing. It does not take all the preparation of painting. A surface and a marking tool of some kind is all that is needed. Easy. Give a child paper and a box of crayons and they dive right in.

I sometimes forget to draw for drawing's sake alone. It really is relaxing when I don't have to focus so intently on 'making it right', when there is no end purpose as studies for paintings can be.

Ironically, even when I'm too busy with paintings for shows, commissions etc. and I don't think I have time, drawing this way is actually therapeutic and has a way of clearing my head, allowing me to refocus on work and deadlines. So the busier I get the greater the need for drawing.120

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"Figure Study-Hips-Legs"

"Figure Study-Hips-Legs"
oil on panel, 2010
7" x 5" (17.78cm x 12.7cm)
private collection

A quick figure study. My focus here was more a study in paint application than an anatomical study, so an experimental study. When it comes to the figure I am still searching a bit for a 'visual voice' in all it's forms.
I usually prefer to have something to say or represent about the subject. Some kind of impression or response that helps guide decisions or gives me direction when it comes to the elements of art and design. Elements like paint application, value, edges, color etc. as well as the more emotional and conceptual responses. This is one of my goals for 2011... to really start working more with the figure until something begins to emerge, to search out some kind of expression then find a way to articulate it visually.96


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Drawings

"Power Plant Interior-Study #1"

"Figure #3"
pencil on paper, 2010
10" x 8" (25.4cm x 20.32cm)
For Sale at Daily Paintworks, CLICK HERE

"Power Plant Interior-Study #1"
graphite on paper, 2010
8" x 10 " (20.32cm x 25.4cm)
For Sale at Daily Paintworks, CLICK HERE

Here are two of my drawings, a quick sketch and a graphite drawing.8o, 81

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*Update
A study from my Power Plant Interior series. Studies like this don't always end up as paintings directly but instead help me get familiar with the subject through drawing.
This one's strength is its diagonal composition, especially the opposing 'u' shaped pipe or duct.
The interior is densely packed & layered, a labyrinth of pipes, ducts, valves, catwalks, mesh, railings, stairs... steel in a concrete cave, deep and cavernous... heavy industry.


See the power plant interior paintings #1here and #2here.

Figure Study-Back

"Figure Study- Back, Seated"    SOLD
oil on panel, 2010
7" x 5" (17.78cm x 12.7cm)

Another quick study, the figure leans into the shadow. Here my intent was to get the overall shape of the form, although there is a suggestion of texture, there is no detail or nuance of surface.

Simple composition... arrangement of light & dark, concerned with mass.77
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Figure Study-Egg

"Figure Study-Scrunched (Egg)"   SOLD
oil on panel, 2010
5" x 7" (12.7cm x 17.78cm)

A quick figure study. I like the figure when it is tightly contained, wrapped up or here like an egg. It seems to be both at rest and in a state of action. Perhaps action temporarily at rest. Not a reclining pose nor a sitting pose, not quite moving, but not fully relaxed, instead paused.76
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Duo Portraits

"Duane"

oil on panel, 2007

10" x 8" (25.4cm x 20.32)

private collection

"Megan"

oil on panel, 2007

10" x 8" (25.4cm x 20.32cm)

private collection

Here's two portraits I did as a wedding gift to the couple seen here.

Keeping in mind the intent of the portraits, that each was meant for the other, I made sure to choose reference where there was eye contact. And for a more personal image, using a tight cropping.

Megan was done from a photo taken by Duane, so it has a specific memory attached to it for him. After looking through several photos of Duane I selected this one for it's more emotional resonance.45,46

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Imagination

"Figure from Back-Reclining"    SOLD

oil on board, 2009

15" x 20" (38.1cm x 50.8cm)

Here's a figure study done recently, but without benefit of a model. Sometimes I will work from a previous drawing or do thumbnail sketches until I find something I want to work up in paint.

Even though it is better most of the time to have some kind of reference it's good to challenge yourself from time to time by working from your imagination. Many artist occupations require working this way since posing a model in true action poses, for instance, is almost impossible. Automotive designers are another example... there is no reference for what hasn't been done yet. And their designs must actually be built.

Either way, using your imagination uses a different set of skills than direct observation or working from a photo. I don't even want to lay any claims about which way is better, only that each is different and has it's own pros and cons. I will go so far as to say that working in one method helps improve the others. So that each time I work from direct observation it also strengthens my visualization skills or helps in 'deciphering' photo reference later. And though it may not seem so, working from imagination even helps improve working from a model, it teaches me to not always be so literal. They are just different disciplines.42

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