"Picnic" 2009, 16 x 20 inches. Oil on Canvas. 2009.

On Developing A New Painting:

Step 1. Gathering Source Material:

My paintings are primarily based upon photographic images. Painting from such images is advantageous and convenient:

• The light on the subject does not change;

• The subject does not move, or take time out for a rest;

• When painting it is easy to enlarge the image to examine finer points.

• I do not have to drag equipment into the field, which I have found physically more difficult as the years have gone by.

 

Having painted many times both from plein air and from life, with practice the extraction of form and life from a two dimensional photograph has become easy.

 

I paint directly from photographic images displayed on a computer screen beside my canvas.

 

1.1. Collecting Images:

For reasons of copyright, I use only images that I have taken. Most are unposed photographs of people doing their own things, or background scenes.

When traveling, I always look for photo opportunities. To capture my images, I use a compact point-and-shoot digital camera, and recently, the camera on my iPod Touch.

1.2. My Camera:

I have gone through several cameras, from capturing images on film to today's digital techniques. The modern digital camera allows the inexpensive recording of multiple images. Plus there is instant gratification in being able to quickly see the results. Also, the storage and viewing of large numbers of images is easy.

My current digital camera (Panasonic Lumix DMC-TZ5) is compact enough to fit in my shirt pocket; has 9Mg-pixel resolution; x10 zoom lens; an anti-shake system that minimizes vibrations for hand held shots; and a burst mode that enables the capturing of multiple images, one after the other very quickly, for as long as I hold down the shutter release.

With such a camera and a large capacity interchangeable internal memory card, I am able to capture many images, usually of people as they moving, and often from far away.

 

1.3. On Taking Photos:

I look for people in action: talking; in groups - interacting; doing everyday things; working; plus useful background images.

1.3 Cataloging My Photos:

After traveling, typically I return with several thousand or more images. So far I have accumulated over 20,000 of these "reference" images.

These images are stored on my computer in catalog files named by: date taken; location; or occasion.

I started in 1998 using iViewMultiMedia cataloging software. This has evolved through many upgrades into Microsoft Expressions Media 2, which I use today. If I was starting today, I would probably use iPhoto (which was not available then), but with such a large existing collection, it would be difficult to change.

 

Step 2: Selecting Images As Painting Sources:

When I am planning a new painting, my first resource is to research my catalogs of reference images.

Typical Catalog Page.

Any selected image may be enlarged to full screen. A right click shows the location of the original comnputer file or opens the image in an application.

 

2.1. Selecting a Theme.

As I look through the catalogs, every now and then, an image triggers a thought that may lead to a painting. These thoughts gradually build themselves into a story theme. Images of interest I copy into a new "Theme" sub-catalog.

The story theme has to treated carefully. Though I try to tell a story in each painting, my goal is for the viewer to conjure up their own story. When talking about my paintings with a Gallery visitor, always I am amazed at the variety of stories they attach to any particular painting.

Selecting source images for a new painting takes place over a few days, a few weeks, or even months. Usually I have several painting themes in various stages of process at the same time. But, always I am thinking about future paintings, even while I working on a current artwork.

 

2.2. Innovation - Using Multiple Images:

Unless I am undertaking a commission where usually the goal is clear, the concept for a new painting gradually evolves, takes on form and composition, and finally gels into a picture outline in my mind.

I like to build tension between two or more figures. A sense of emotion that ordinary people, such as the viewer, may relate to: love, hate, sex, envy, etc.

Encounter Oil on canvas.30 x 24 inches.

As idea for a new painting develops, I continue to scan my catalogs of reference images for suitable material. Often a painting and story is developed from an integration of several images. Occasonaly, if they were taken using the burst mode, there may be multiple images of the same subject.

Often I will blend parts of several images for a desired result. A subject’s lips from one image, an arm from another, and the background from yet another.

Similarly, I will change dress, colors, hair, as well as lighting, shadows, and background to suit my plan.

Example:

Photo of a French courtyard.

 

Woman crossing a street

 

Almost Home, Oil on Canvas. 24 x 12 inches.

 

Step 3: Preparing To Paint:

 

3.1. Composition:

A few months before starting to paint "Picnic," illustrated at the top of this article, we visited the Huntington Library, in Pasadena, California. With its Art Collection and Botanical Garden. It is a wonderful place to enjoy art surrounded by beautiful scenery.

The art is housed in various separated buildings, and we walked between each gallery in warm sun filtered by shady trees. As we walked along, I took many photographs of interesting people as we passed by.

After returning, and upon examining the images, I was attracted to the group of five images below. Notice as the images progress how the children move around, and the mother is getting up:

Of this group of photographs, the first image already has quite good composition, leading me to chose it as the foundation for the painting.

Upon considering the composition, several needed changes are apparent:

• The baby carriage is a distraction and must be left out.

• The children's sun glasses present too strong a statement, and must be removed.

• The mother's right hand is raised and will look better against her leg:

Next a two value thumbnail Notan Study of the image pulls out the important part of the photo image for cropping, and determines the plan for the key values of the painting.

All these changes will be incorporated as the painting progresses.

 

3.2. Preparing The Canvas:

My recent work is painted with oil on canvas or linen. This traditional paint and substrate has a permanency and appearance that is time proven. I prefer a fine weave canvas or linen, particularly for portraits or small paintings with a lot of detail. Occasionally, the texture of the canvas lends a dimension that adds to the nature of the story.

Recently, I have been painting smaller sizes. Though I enjoy painting big, many buyers lack wall space or are intimidated with the price of larger paintings. Since my pricing is related to a painting's size. For "Picnic" I chose a 16 x 20 x 1.5 inch museum wrapped canvas.

My paintings are offered unframed and with painted edges. This allows the purchaser to either hang the painting as is, or to frame the painting to match their décor or other artwork in their collection. The museum wrap conceals the fasteners attaching the canvas to the stretcher bars. The thick edge looks better when hung unframed.

Before painting, I stamp the back with a blank copyright statement, and wire the canvas for hanging (for more detail see "The Back Of The Painting"):

For hanging I use plastic covered copper plated steel wire, attached to the side stretcher bars with small screw eyes. The screw eyes are positioned about one third down the side stretcher bars. The wire is streatched to reach to nearly touch the lower surface of the top stretcher bar.

Each end of the wire is looped around a screw eye, and twisted around upon itself. Then to hold things secure and to prevent the sharp ends from being exposed, a small length of heat shrink tubing is slid over the wire and eye, then heated to shrink tight.

Before painting, I tint the whole white surface of the canvas, including the edges, usually with a diluted mixture of Burnt Siena paint. Very occasionally I use other colors, depending upon the color composition of the planned painting. After painting the surface, I wipe off the surplus paint with a paper towel, leaving just a pale tint.

 

3.3. Preparing Grayscale Image Prints:

With "Picnic," there is only one principal image that is going to be the basis of my painting. Using Adobe Photoshop Elements software, I convert that colored image into a grayscale image. If there is more than one image is source for a painting, the same process is used for each.

Then, after increasing the contrast and minimizing the background as needed to improve the edges of the principle shapes, I print it out onto white paper as a 4 inch wide image.

Using A Projector:

In my studio, in the evening after dark, I position my Autograph Prism Opaque Projector and my prepared canvas to produce a projected image on the blank canvas.

The printed grayscale images are inserted, one at a time into the projector and positioned on the canvas as required.

Using dilute colored paint (usually Burnt Umber) and a small round brush, I lightly sketch the image outline onto the canvas. If there are more than one principle image, I reposition each projected image as needed and continue painting.

These painted outlines give me scale and layout. They help me to quickly get the painting started.

 

My Studio Setup:

My studio is lit by windows and by daylight augmented color corrected fluorescent tube lamps.

When painting, I use a nearly vertical easel. But it may be adjusted as needed from upright to flat. For years I preferred to work standing. But these days, perhaps giving way to age, I have become accustom to sitting at my easel.

My palette is an 18 x 24 inch sheet of toughened glass, positioned beside me on my right. I use a second 6 x 6 glass plate to layout my raw colors. At night, I immerse this small plate under water to slow the paint drying out between painting sessions.

My brushes, palette knives, mediums, and solvents are nearby. Also, drawers containing tubes of paint.

I have accumulated a great number of brushes, but find myself working with just a few rounds, filberts, and flats. Many are of small size for the final details.

I wash out my brushes at the end of each painting session. Recently I invested in a set of Soft-Clips which are great for preserving the sharp edges of my many small and medium flat brushes.

 

Using The Computer:

Since I source most of my paintings directly from digital images, I paint straight from images on a computer screen. My laptop computer is positioned beside and to the left of my painting easel. It is set on an adjustable table, with the screen level with the area of the canvas being worked.

Exact colors on the display are not of critical importance. I tend to adjust colors and values as I paint to improve the overall effect. Also, sometimes I adjust the displayed image using Adobe Photoshop Elements software, to improve the contrast or to enhance the lighting into deep shadow areas.

Occasionally I generate several images of the same view, each with a different adjustment of the color, contrast, or brightness. When painting from multiple images, each may be selected to be displayed with a few key strokes as needed.

Similarly, details from each image maybe selected, enlarged or reduced, again with just a few keystrokes. Also, an enlarged image maybe dragged around the screen to show a particular area of interest.

 

The Nōtan Study:

Nōtan is a Japanese design concept involving the play and placement of light and dark next to the other in art and imagery. This use of light and dark translates shape and form into flat shapes on a two-dimensional surface. When used in paintings, a Nōtan drawing is the underlying light and dark structure.

Seeing Nōtan is the act of identifying patterns of light and dark. It simplifies the full range of values into a black and white design — the white represents areas directly in the light, while the black depicts areas in shadow. Color is never considered. Occasionally I add gray to signify a mid range and to emphasize an important structure.

With these thoughts in mind, I constructed a Nōtan drawing of my planned "Picnic" painting using marker pens on white paper. This drawing became the composition plan for my painting.

Note how I made the man's body pops out of the dark background of the tree shadow. In the same way the white blanket pops from the ground shadow.

In both cases the shadows are stretched beyond reality to improve the composition. Later, when painting, I decided that the light area to the right should be removed. It was a distraction to the overall composition.

 

Beginning The Painting:

For "Picnic" I used the first photo image, as discussed earlier.

After completing the monochrome outline sketch, as described earlier. The next morning, in daylight and with the chosen photo image on the computer screen, I sketch (using a stronger Burnt Umber solution) a more precise image of the subject matter.

Laying Out The Colored Shapes:

Using a larger brush, I begin coloring the background, so that when working the foreground I will have value and tone for comparison.

 

Working The Details:

Gradually I add color and rough in more detail.

I continue to add more and more detail, working the painting, typically from left to right. For each pass across the painting I add more color and more detail.

This process is repeated many times until all seems to be in balance and fully developed.

 

Final Review:

When I am happy with the painting, I put it to one side by hanging it across my studio where I may look at frequently when sitting at my easel. Since there is a mirror in my studio, I may see the painting in reverse. At this stage, often I am starting another painting.

If I see anything incomplete or in need of adjustment, I can get up and touch up details as needed.

After a week or so, I move the painting to wall in a passageway of my house. Here I pass the hanging painting several times a day. But since it it is further away, some time passes between each viewing. This gives me a somewhat "Fresh" look at the painting at each viewing.

Again, as I see a needed change, I will take it back to the studio to rework any details.

During this review period, if possible I will take the painting to my critique group. This group of artists, many who have known me for years, provide me feedback as to their opinions. I consider each comment, and may or may not make changes depending upon own feelings.

 

Final Steps:

Then, after several weeks of hanging and examination, and when surface dry, I will sign the painting, scan it to generate a full size high resolution (400dpi) digital image (for more information see "On Scanning My Paintings"). Label, number, register, and fully document the painting (see also "The Back Of The Painting").

Next, the whole canvas is coated with a very thin solution of Gamblin Galkyd Lite medium in Gamblin Gamsol thinner. This coat unifies the appearance and protects the surface finish.

The painting is now allowed to dry, which often takes another two or three weeks, after which it ready for exhibition.

 

Painting Is A Continual Learning Process:

If you would like to discuss any part of this painting process, please contact me.

If you want to see some of my paintings "in the flesh", or to learn more about how I paint, arrange to visit my Santa Barbara, California, Art Studio and Private Gallery.

They are situated about four miles northwest of downtown Santa Barbara. Only a few minutes driving distance from most local hotels.

To arrange a visit and to obtain driving directions, contact me for an appointment.

I am always experimenting - trying new subjects, new methods, and new materials. This description will be updated as thing progress.

Updated November 2011