Thursday, October 6, 2016

Moving into a New Painting Studio

The university where I teach art courses has classrooms and research facilities in a remodeled industrial building. I am excited to receive a key to an art studio in this beautiful building! 

Kenilworth Square, built in 1914, was originally a Ford Motor Company factory where Ford Model T cars were produced. 

Wisconsin Historical Society's records reveal that the building was a Ford assembly plant until 1942 when it was sold to the US government to be used for wartime production.

Kenilworth as it looked in the prior to the 2006 remodeling.

As I take a first peak at the studio, the helpful maintenance staff offer to move the furniture and polish the concrete floor.

Wow, these windows provide wonderful light -

and a view of a lovely Art Deco building across the street.

I can't believe now how great the shiny sealed concrete floors look. 

Installing the sound system is a priority.

Work surface set up. 

Brushes and pencils organized.

Canvases stretched. Ready to start a new project!

But first I must prepare to ship twenty paintings to Colorado for my solo exhibition.

I am fortunate to have a place to work.

Monday, October 3, 2016

Pastel Figure Drawing: Part III

The pastel figure drawings featured in this post  are drawn on white paper directly without a colorful underpainting. For this technique burnt umber was used for the value study because it would blend well with colors of the flesh tone.

22"x 30"
chalk pastel on printmaking paper

Marquayla (detail)
22"x 30"
chalk pastel on printmaking paper

The same model also posed a year later for the session recorded in stages below.

A gestural line in sepia conte crayon measures proportions while creating volume and structure. Tones are rapidly placed. Here placed brown PanPastel tones rapidly with a makeup sponge.

Next warm and cool colors are added.

Finally highlights and shadows complete the image and detail.

Marquayla II
22"x 30"
chalk pastel on printmaking paper

Marquayla II (detail)
22"x 30"
chalk pastel on printmaking paper

We see the same stages of this technique used again for a drawing of another model.

A dark blue line gives specific contour and contrast.

Capturing this model's curls were unusually challenging. 

A glimpse of the setup -

The white sheet looks crisp against the vibrant colors on the body in the finished piece.