Showing posts with label Small Studies. Show all posts
Showing posts with label Small Studies. Show all posts
2nd Session...Hawg Teaser... 9"x 12"
My second day at this one...feeling a bit beat up, but thinkin' I'm starting to win the war...
Hawg Teaser...first session...oil on linen
There is no benefit for professional artists, I believe...in sharing only their grand works and not the stinkers or at least when the going gets rough and requires wrestling.
Perhaps it is the near 30 year educator in me that obligates my sense we teach best by our transparency, though...marketing tends to require that we create this personae that we are larger than life. Revealing our human traits brings us down to the commoner level...and we risk damage to the progressive awe we might wish others to cultivate. I think though..such is dishonest. This painting stuff is a journey. The awe is rightly credited toward that level of hard work, discipline...lifelong study, and that never say quit attitude. Other than that we painters are all on a journey. By default of age and time, some of us have traveled farther along, or less so.
Since my interest is experiments, push...here is one I had time only to start today.
Often...there is a point in a painting that I am aware (especially plein air) that I've reached a critical moment where the work might well miserably fail, and I know that by the notable knot in my stomach. Its also a high endorphine time...a natural high to engage this moment head on...and certainly reminding ourselves we've been at such a moment a gazillion times before only to succeed...we proceed almost in a state of faith that once again it will be so.
The painting is of the muskie lure, "Hawg Teaser" and is at that juncture of potential failure.
Remember...I'm trying to develop that knack to paint a work...then scrape and scumble it to a point of nearly destroying it...only to build it back judiciously, recover and refine a focal point and leave a good area peripherally abstract.
Here is where I'm at in theory which will lead to practice. Thus far my other lures have I believe for the most part worked...but, they've been to this point "safe"...or safer than I was willing to venture. I bite my lip and tense up to go against things inside of me from long practice, and know that to continue from here is to risk not just creatively destroying and recovering successfully...but actually destroy beyond redemption.
I tell myself..."its only paint...just a painting! What' the big deal anyway!"
Too often we paint as if the one we are working on seeks to prove an argument against ourselves that we know nothing about painting whatsoever, and in the end are only a poser, a dreadful hoax. Funny thing is...we can paint 30 years and hold some reputation, and still harbor that merciless insecurity!
Shall we run to our closet to pull our past works to console ourselves??? hahaaa...
I like how Edgar Degas put it..."painting is easy when you don't know how, but very difficult when you do!"
we shall see then how this one goes...I'm waiting on pins and needles...! 8^)
Perhaps it is the near 30 year educator in me that obligates my sense we teach best by our transparency, though...marketing tends to require that we create this personae that we are larger than life. Revealing our human traits brings us down to the commoner level...and we risk damage to the progressive awe we might wish others to cultivate. I think though..such is dishonest. This painting stuff is a journey. The awe is rightly credited toward that level of hard work, discipline...lifelong study, and that never say quit attitude. Other than that we painters are all on a journey. By default of age and time, some of us have traveled farther along, or less so.
Since my interest is experiments, push...here is one I had time only to start today.
Often...there is a point in a painting that I am aware (especially plein air) that I've reached a critical moment where the work might well miserably fail, and I know that by the notable knot in my stomach. Its also a high endorphine time...a natural high to engage this moment head on...and certainly reminding ourselves we've been at such a moment a gazillion times before only to succeed...we proceed almost in a state of faith that once again it will be so.
The painting is of the muskie lure, "Hawg Teaser" and is at that juncture of potential failure.
Remember...I'm trying to develop that knack to paint a work...then scrape and scumble it to a point of nearly destroying it...only to build it back judiciously, recover and refine a focal point and leave a good area peripherally abstract.
Here is where I'm at in theory which will lead to practice. Thus far my other lures have I believe for the most part worked...but, they've been to this point "safe"...or safer than I was willing to venture. I bite my lip and tense up to go against things inside of me from long practice, and know that to continue from here is to risk not just creatively destroying and recovering successfully...but actually destroy beyond redemption.
I tell myself..."its only paint...just a painting! What' the big deal anyway!"
Too often we paint as if the one we are working on seeks to prove an argument against ourselves that we know nothing about painting whatsoever, and in the end are only a poser, a dreadful hoax. Funny thing is...we can paint 30 years and hold some reputation, and still harbor that merciless insecurity!
Shall we run to our closet to pull our past works to console ourselves??? hahaaa...
I like how Edgar Degas put it..."painting is easy when you don't know how, but very difficult when you do!"
we shall see then how this one goes...I'm waiting on pins and needles...! 8^)
Jack Cobb muskie lure...finished
Wrestled, scraped...declared war...pushed the paint, a hard fight...and other than minor wounds think I arrived at my objective. Click to see larger view...
8"x 10" oil on Senso linen...
The Process of Growing...
Based on some comments I have received, here...Facebook, and Wetcanvas...thought I'd ramble a bit, reflect...offer perhaps some insights to the growth process, my growing at least...should that prove of any interest.
I've worked on the idea of lures for sometime now. I've been fascinated with the moment of euphoria, men and women as sportsmen engaging the outdoors, their spirit lifted up, refreshed...filled with anticipation and joy. A whole other area of "Sporting Portraits" was born out of that...which is a whole other area of my artistic life that I share with sportsmen one on one...give them a card with a special online site for them to check out...
but...of that, is the lore..
My younger son now 29 years of age...caught a monster trophy largemouth bass when he was quite young. It was quite a story, and an outdoor television program listed/featured his catch, and we had the bass mounted, kept the lure...and one old polaroid photograph. I decided to set them on my art table...and did a simple painting, a study...of the photo, what was written on it, the lure...etc.,
you can click on the images to see them slightly larger...
thing is, I was already trying to break up the background in this painting, done just a few years ago now. Getting more and more dissatisfied with flawless fill...and you see I've allowed the undertone to come thru to create more interest...
In this "incidental" done sometime in 2006...you see my use of brushwork, hints of color again aiming to create more variation in the background, though the spinner is the focal interest, attempting to diminish edges here and there.
Its funny now that I see it, but many of what I called "incidentals" that is...studies done aside with the idea that they should not define who I was ultimately as an artist...were done with an aim to more and more loosen up, become proficient, efficient, make quicker decisions all the hope to give me greater empowerment outdoors where sunlight comes in a smaller window of opportunity.
I actually thought at the time that this next one was more suggestively painted as an illusion of realism, well...when you compare to my old realistic rendering and laboring, sure...
I was so proud of the smudging of paint that suggested the Boy Scout logo...but still, look at the refinement of the topographical map and the finishing of this small painting top to bottom and side to side...
As fine as I thought this one was, I yet have it...meaning to my thinking it did not capture the mind or interest of viewers enough to buy it.
I mean...selling isn't everything, and my wife probably wishes that I had more interest toward that end actually or at least was more business savvy so-to-speak, but when you think you've done something well and sometimes doesn't sell, you think perhaps you missed the mark of what appeals and catches the eye.
I don't get discouraged by such...but am encouraged then to push, experiment some more.
We live afterall in an image bombarded world, and the eye is attuned to the necessity of wading thru all those images by tuning out, and doing so quite effectively. Part of the painting game is to reflect and develop strategies in our design and composing that would cause a work in this age to command attention and interest. One more thing that makes painting so alluring for me is this undaunting task...
As for the latest lure I'm doing...(the Jack Cobb posted below) not yet satisfied with the background...the lure in actuality is resting on grain of wood. I know without a doubt I can painstakingly represent that wood...
Here...a simple duck call with lovely wood grain...and as an incidental a suggestive effort to so paint the wood.
Thing is, the wood grain, is not the focal point nor interest...and the concept I'm attempting at the moment is how to use negative space as a comparitive note that directs the eye to the lure.
As an empty space...the lure being all there is, naturally the eye goes there...
but...like symmetry for aligning visual balance, the solution is too obvious, and thus visually "trite"...
The work then...in an image bombarded age lacks real compulsion and power to catch and hold the eye.
It is no longer how realistic an object can be rendered in my opinion that will carry promise to this end...but variation and intrigue, even paradox...
If you consider some of the works of Lipking of late, or Quang Ho...Schmid, you ask yourself, how can an image appear so contemporary, carry so many apparent abstract indicators and yet infuse the essentials of that which is realistic? I say "apparent" because all work is abstract in nature IMO...for good works must have good design which is abstract in nature, but these artists do not labor to diminish and eliminate traces of this abstract presence but actually glory in it...while teasing the eye.
Consider this marvelous work of Richard Schmid's "Adele" ...quite simple...but the unfinished collar, neckline and shoulder only suggested are quite abstract. The undertone or ground allowed to come thru, the smuding and diminished edges compel our eye while leaving us this wonderful sense of the portrait. If you are unfamiliar with Richard Schmid, considered one of our finest living modern masters do check him out!
Or check out this one "Frank's Kitchen" by Quang Ho, or his still life, "Fish on Dish"
Jeremy Lipkin is another...and these artist links are along my side categories listed here in the blog.
These artists are capable of the highest complete refinements...but then, why the tease? Would some say simply too lazy to finish the work???
I would invite you if you have not already, read thru my post below dated, December 28th...my comparison of this approach, the variation...the contrast and compare to that of the women's fashion of the day in the 1920's...
We all come to some inner revelation as to what works and why, and the ladie's fur wrap ought not be inferred to the thinking of the fine artists I have just mentioned. It is my own twisted kind of thinking I'm sure...but is helping to answer my self-arguments.
At any rate...if you scroll down...you'll see the lure, "Creeper" that is vertical...the painting of my granddaughter Ava Dawn..and others, where more and more I am stretching to develop this capability....
I've worked on the idea of lures for sometime now. I've been fascinated with the moment of euphoria, men and women as sportsmen engaging the outdoors, their spirit lifted up, refreshed...filled with anticipation and joy. A whole other area of "Sporting Portraits" was born out of that...which is a whole other area of my artistic life that I share with sportsmen one on one...give them a card with a special online site for them to check out...
but...of that, is the lore..
My younger son now 29 years of age...caught a monster trophy largemouth bass when he was quite young. It was quite a story, and an outdoor television program listed/featured his catch, and we had the bass mounted, kept the lure...and one old polaroid photograph. I decided to set them on my art table...and did a simple painting, a study...of the photo, what was written on it, the lure...etc.,
you can click on the images to see them slightly larger...
thing is, I was already trying to break up the background in this painting, done just a few years ago now. Getting more and more dissatisfied with flawless fill...and you see I've allowed the undertone to come thru to create more interest...
In this "incidental" done sometime in 2006...you see my use of brushwork, hints of color again aiming to create more variation in the background, though the spinner is the focal interest, attempting to diminish edges here and there.
Its funny now that I see it, but many of what I called "incidentals" that is...studies done aside with the idea that they should not define who I was ultimately as an artist...were done with an aim to more and more loosen up, become proficient, efficient, make quicker decisions all the hope to give me greater empowerment outdoors where sunlight comes in a smaller window of opportunity.
I actually thought at the time that this next one was more suggestively painted as an illusion of realism, well...when you compare to my old realistic rendering and laboring, sure...
I was so proud of the smudging of paint that suggested the Boy Scout logo...but still, look at the refinement of the topographical map and the finishing of this small painting top to bottom and side to side...
As fine as I thought this one was, I yet have it...meaning to my thinking it did not capture the mind or interest of viewers enough to buy it.
I mean...selling isn't everything, and my wife probably wishes that I had more interest toward that end actually or at least was more business savvy so-to-speak, but when you think you've done something well and sometimes doesn't sell, you think perhaps you missed the mark of what appeals and catches the eye.
I don't get discouraged by such...but am encouraged then to push, experiment some more.
We live afterall in an image bombarded world, and the eye is attuned to the necessity of wading thru all those images by tuning out, and doing so quite effectively. Part of the painting game is to reflect and develop strategies in our design and composing that would cause a work in this age to command attention and interest. One more thing that makes painting so alluring for me is this undaunting task...
As for the latest lure I'm doing...(the Jack Cobb posted below) not yet satisfied with the background...the lure in actuality is resting on grain of wood. I know without a doubt I can painstakingly represent that wood...
Here...a simple duck call with lovely wood grain...and as an incidental a suggestive effort to so paint the wood.
Thing is, the wood grain, is not the focal point nor interest...and the concept I'm attempting at the moment is how to use negative space as a comparitive note that directs the eye to the lure.
As an empty space...the lure being all there is, naturally the eye goes there...
but...like symmetry for aligning visual balance, the solution is too obvious, and thus visually "trite"...
The work then...in an image bombarded age lacks real compulsion and power to catch and hold the eye.
It is no longer how realistic an object can be rendered in my opinion that will carry promise to this end...but variation and intrigue, even paradox...
If you consider some of the works of Lipking of late, or Quang Ho...Schmid, you ask yourself, how can an image appear so contemporary, carry so many apparent abstract indicators and yet infuse the essentials of that which is realistic? I say "apparent" because all work is abstract in nature IMO...for good works must have good design which is abstract in nature, but these artists do not labor to diminish and eliminate traces of this abstract presence but actually glory in it...while teasing the eye.
Consider this marvelous work of Richard Schmid's "Adele" ...quite simple...but the unfinished collar, neckline and shoulder only suggested are quite abstract. The undertone or ground allowed to come thru, the smuding and diminished edges compel our eye while leaving us this wonderful sense of the portrait. If you are unfamiliar with Richard Schmid, considered one of our finest living modern masters do check him out!
Or check out this one "Frank's Kitchen" by Quang Ho, or his still life, "Fish on Dish"
Jeremy Lipkin is another...and these artist links are along my side categories listed here in the blog.
These artists are capable of the highest complete refinements...but then, why the tease? Would some say simply too lazy to finish the work???
I would invite you if you have not already, read thru my post below dated, December 28th...my comparison of this approach, the variation...the contrast and compare to that of the women's fashion of the day in the 1920's...
We all come to some inner revelation as to what works and why, and the ladie's fur wrap ought not be inferred to the thinking of the fine artists I have just mentioned. It is my own twisted kind of thinking I'm sure...but is helping to answer my self-arguments.
At any rate...if you scroll down...you'll see the lure, "Creeper" that is vertical...the painting of my granddaughter Ava Dawn..and others, where more and more I am stretching to develop this capability....
Jack Cobb...muskie lure, oil....8x10
well...started this one today...could have finished, but did not like how the background has progressed...
I scraped basically all below the lure out...and will try again...looks all too polished right now, has less character...so, wanted to share this one at a stage where I'm wrestling with it...
I scraped basically all below the lure out...and will try again...looks all too polished right now, has less character...so, wanted to share this one at a stage where I'm wrestling with it...
My most Sincere effort to destroy this...successfully. Jack Cobb muskie lure
If you've seen the work of Quang Ho...you will understand when I try and destroy my efforts successfully. His link below and to the side of the artist talent's links posted...
my best attempt yet...and its a bit like trying to reinvent a wheel for myself here...but, its only paint...so push, scrape...smudge away!!!
the close up...should give you some idea of the push, the scrape, the sense of visual urgency I'm striving for...
my best attempt yet...and its a bit like trying to reinvent a wheel for myself here...but, its only paint...so push, scrape...smudge away!!!
the close up...should give you some idea of the push, the scrape, the sense of visual urgency I'm striving for...
Last Cranky Nitro...now time to move on...
Wanted to push this one more time, try a bit more controlled chaos...some intriguing color contrasts...but not sure I have destroyed this one enough...guess that ability will strengthen over time...
9"x 12" oil on oil primed linen....
New one...Cranky Nitro...pushing the paint...
Trying to push the envelope...painting this after my teaching day today, an hour...and trying to "destroy" the work...in a creative sense. Something Quang Ho...says to aim for, scraping out with paint knife, rebuilding...pushing. Not easy to do...believe me...but something I'm aiming to work for more and more...
check out Quang's work..insanely creative, contemporary...compelling the eye...at once abstract yet at the same time crazy realistic!!!
check out Quang's work..insanely creative, contemporary...compelling the eye...at once abstract yet at the same time crazy realistic!!!
Casein...day two with oils... 6.25" x 10" on wood panel
A bit more time today, bringing the painting along a bit farther
with oils. Again, over a casein reddish underpainting, and
using a split-complementary palette of red, yellow-green
and blue-green...plus white and black.
The mood of the day I'm depicting is more an overcast somewhat
somber day. Neutrals and subtleties have their play. Considering
how reddish undertone wants to excite green, I knew the risk or
challenge to keep things subdued, but electing to have red as the
dominant for the split-comp palette I felt would work to keep
things under control...
Test Run of Amber Medium... Painting of medium cups
I was sent a bottle of amber medium to try out...another hard
resin like copal, but doesn't tack up nearly so quick. Think its
been a good decade since I've used anything other than Garrett's
copal medium.
Was interesting to try it...and impatient and under the weather
on prednisone and antibiotics so I couldn't go outside to paint,
I just set up my medium cups...ironically, the one nearest is
of my copal medium. haaa...
5"x 7" oil
here a closeup, and as always...click on image to see larger
view-
resin like copal, but doesn't tack up nearly so quick. Think its
been a good decade since I've used anything other than Garrett's
copal medium.
Was interesting to try it...and impatient and under the weather
on prednisone and antibiotics so I couldn't go outside to paint,
I just set up my medium cups...ironically, the one nearest is
of my copal medium. haaa...
5"x 7" oil
here a closeup, and as always...click on image to see larger
view-
An Alla Prima Brushwork Exercise... 5"x 7"
Periodically...I assign myself a quick (no more than one
hour) exercise...painting a simple subject with an aim to
keep each brushstroke absolutely essential...and actually
count the strokes.
I'll invite you to see any discussion and deeper explanation
of this in a thread I have on it at Wetcanvas.com where I
have multiple images, and shared exercises...
This one came to a total of 429 brushstrokes...and I video
taped the whole painting. I will be making a time lapse
video, and probably will share it with YouTube. When I do
I'll post that video as an update here on my blogspot.
Here's the painting... 5"x 7" oil...(and click on image to see
larger view). This work is for sale under $100 on my
"Will Paint for Gas" blog...
hour) exercise...painting a simple subject with an aim to
keep each brushstroke absolutely essential...and actually
count the strokes.
I'll invite you to see any discussion and deeper explanation
of this in a thread I have on it at Wetcanvas.com where I
have multiple images, and shared exercises...
This one came to a total of 429 brushstrokes...and I video
taped the whole painting. I will be making a time lapse
video, and probably will share it with YouTube. When I do
I'll post that video as an update here on my blogspot.
Here's the painting... 5"x 7" oil...(and click on image to see
larger view). This work is for sale under $100 on my
"Will Paint for Gas" blog...
Dog Tags Oil Painting 7x5 Larry Seiler
7"x 5" oil
Buy a giclee print of this work at Imagekind!
These are my old Vietnam era Navy dogtags...and they
are of course very personal. Out of uniform if you were
ever separate from them. We showered with them on,
slept...you name it.
I had fun painting the reflective properties of metal, and
the suggestive marks of paint to imitate the stamping of
my name, and information tags have on them...and like
always, click on the image to enjoy a larger view.
My work is available for sale, I make a Paypal page for
those that contact me, so you can pay direct with
credit card on a secure broker transaction. I also consider
checks, money orders. Don't often speak of that...but,
just thought I'd mention it.
Tools of the Artist's Trade -Oil Painting
5"x 7" alla prima oil
Needed to paint after teaching today, my way of
pouting when told it wouldn't be in our budget to
go out and eat tonight. Perhaps like one that
sings for his dinner, I'll paint..
This is available for sale, but will require
about two weeks time to dry and be readied for
shipping. Feel free to inquire...
Click on image to see larger painting...
Gastineau Channel Alaskan Seining Boat...oil painting
Longing for a bit of Alaska the past week, so decided
to paint up a small scene of a seining fishing boat,
perhaps out to set traps for crabs or check nets.
SE Alaska...near Juneau...
9"x 12" oil..
Buy a giclee print of this work at Imagekind!
to paint up a small scene of a seining fishing boat,
perhaps out to set traps for crabs or check nets.
SE Alaska...near Juneau...
9"x 12" oil..
Buy a giclee print of this work at Imagekind!
Landscape Painting- Amnicon Falls..Late Afternoon
8"x 10" oil
Painted with split-complementary palette
of blue-green the dominant color, and red
and orange the split colors...plus white.
First a reddish undertone was applied to
the panel...
Oil Painting Stilllife- Retouch Varnish "Incidentals"
This work on sale, see my "Will Paint for Gas" blog link!
5"x 7" oil
This is a throw back to my incidentals
or mundane objects as stilllifes.
I set up a split-comp palette to begin,
which was yellow-orange as my dominant
and then violet and blue as my splits.
I began with controlled brushwork as a
more painterly approach, and at 78 brush
strokes decided it was time to then slip
into a gut hunch mode to bring to a
finish...
Landscape Painting- Waterfalls..Gooseberry Falls
5"x 7" oil
A study of the falls using a reddish
undertone...playing much with shadows
Landscape Painting- The "Argonne Tree..."
To see this work larger or
purchase (Click Here)
8"x 10" oil
This tree had so much character when
I happened upon it just recently in
deep backwoods. Just had to try and
do it justice, and make art of it.
W&N Bright Red...Incidental
5"x 7" oil
For myself, subjects such as this are more
an experiment and wrestling with backgrounds
and textures.
Tried to keep the brushwork to a level of
what felt essential...that is, that peculiar
mystique of REAL'ness without appearing to
strive to suggest it is anything other than
a painting.
Not precluding the world needs another painting
from my hand...but more that perhaps I needed
the exercise and understanding that came from
attempting it. That seems more and more to
identify my need to paint, to nurture a childlike
awe with the world and maintain my sense of
privilege to yet be a habitant here.
Mt Juneau Demo...
Introducing my high school painting students
to concepts related to landscape painting today,
I started this small demo explaining block-in
procedures, use of spatial exercises to suggest
trees and so forth. Promised I'd have it finished
for them to see in the morning...which I have
just done.
5"x 7" oil
to concepts related to landscape painting today,
I started this small demo explaining block-in
procedures, use of spatial exercises to suggest
trees and so forth. Promised I'd have it finished
for them to see in the morning...which I have
just done.
5"x 7" oil
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