How a Painting Is Made, Part 4

I've needed to slow the pace of posting lately. It's been an incredibly wet, drenching month in the Northeast. We've had 3 major storm systems drop a total of more than 15 inches of rain on us, and my basement has flooded 3 separate times. All this culminated in an emergency visit from my electrician today when I noticed water flowing through my circuit breaker panel... through it. Terrifying, to say the least, but he was able to fix the problem straight away. Overall, no serious or permanent damage has been done by the flooding (the pumps have been working nonstop), but obviously it's demanded a lot of my time and attention, especially this week. When I've had the time, I've spent it, you know, actually painting...

However... I've also spent a little time on the mouse project, and am ready to show the next step in the process. After working out the composition and deciding the dimension of the painting, a panel is cut. I actually prepare and prime large (2 x 4 feet) sheets of masonite in advance, so I always have stock on hand; all I have to do is cut to the required size, which in this case is 6 x 7 inches.

I then lay down the initial drawing. To me, the general outline and a mapping of some of the internal detail are the most important considerations at this point. While I am very much thinking about areas of light and dark, and the shape and volume of the objects, I don't consider it necessary to include that information in the drawing. As you can see from the image above, this stage of the drawing would clearly not pass as a finished work of art. It's kind of my own shorthand, I suppose, which works well enough for me, but is probably not recommended for others. Expressing the patterns of the light, as well as the masses of the objects, are reserved for the next step, the underpainting.

Immediately after finishing the drawing, I apply a coat of retouch varnish, and let it sit for a few days. This isolates the drawing, protecting it from smudging, and also prevents the graphite from working into the underpainting, which can distort the tones I'm trying to lay down.

As I was working on the drawing, and in particular the drawing of the Buddha statue, I definitely had a few moments where I questioned the wisdom of tackling such a complex subject. The filigree work alone on that statue will be daunting to paint. As I've mentioned before, though, I think it's important that my reach exceed my grasp. Attempting things I think I can't do is the only real way to grow; in painting or anything else.

So... this piece will become a teachable moment, so to speak.

How a Painting Is Made: Part 3

Just a little has happened on this project since last time; I improved the lighting and made some very slight modifications to the positions of the objects to give it a better flow; it seems that this way the viewer is more engaged in the interaction. This is the absolutely final form the painting will take; there will be no changes to the composition from this point forward. Also, I decided on the dimensions: 6x7 inches.

This actually represented a small part of my studio day; I generally work on a large number of paintings simultaneously, and also today I developed compositions for about a dozen new pieces... a good day!

In Progress: March 24

This painting is basically finished. Since I won't make final images until it's dried and varnished, though, I gave it the "in progress" title; the glare on the black background is just the result of my studio lighting; it will definitely not be in the final image.

I've painted this teacup maybe 20 times, and the teapot at least half a dozen. Nevertheless, each time I approach these objects, I find a new set of problems and challenges to work with. That holds true for any object I've painted in the past, and it's a good thing; otherwise I wouldn't be painting with open eyes and an open mind.

Obviously, I work on a lot of projects simultaneously; tomorrow I'll be getting back to the Mouse Project painting; look for the next installment of those posts within a day or two.

And... a big congratulations to Carol Marine, who finished her 1000th daily painting on Monday. Remarkable...

In Progress: March 23

I had hoped to finish this painting today, but with a late start in the studio, no such luck. The shape and direction of the teapot spout has given me a lot of trouble; it seems to twist too much to the right. The flat surface reflects some light into the shadow on the underside of the spout; with a little correction to that reflected light, I think it will appear to have the proper shape.

In Progress: March 22

Here's today's in-progress piece; I detoured from the mouse project to work on one of the fruit studies. Actually, it's unlikely I'll do anything more to this painting, but I won't be taking the final image (with the correct color balance!) and offering it up for sale until it's dried and varnished.

I'm a big believer that as a painter one's reach should exceed one's grasp, and I always feel good when I can attempt something that I know is just outside my capabilities. Here's a case in point. I've always been a little intimidated by painting cloth, especially silk, and especially embroidered silk. The complexities of the folds, shadows, and highlights can get mind-boggling.

While this particular piece of cloth is not as complex as it could have been, I did challenge myself to capture as much of the actual feel of the silk as possible. To me, the yardstick for painting cloth is the tour-de-force work of Gerard ter Borch, and of course by that measure I fall far short.

But it's fun to keep trying...

How a Painting Is Made, Part 2

Paintings always begin with ideas. To start a painting, any painting, requires some sort of theme. It could be an object you wish to paint, some idea you'd like to express, or a particular light effect you want to explore. Anything.

In this case, I was restricted already by the choice of the bronze mouse; the whole point of doing this painting was to include him. I also decided early on to explore the notion of spiritual practice in a light-hearted way.

Taking another small statue that a friend brought us from Nepal, I started to look for ways to pair the two, and I also decided on a name for the painting: "Bodhisattvas". In Buddhist thought, a bodhisattva is a being who vows to devote all of their energy to helping others. There are some very important differences, but you could think of it as being roughly analogous to a Christian saint. The one really important thing about bodhisattvas is that anybody can become one; it's all a matter of intention.

So, by pairing the mouse with the Buddha statue (actually, Green Tara, for those who might be interested), I wanted to play with the notion of Sprightly beginning along the path to becoming a bodhisattva.

A number of you may recognize the light box I use in the picture above. It's where I set up most of my still lifes, allowing me to carefully control the light. At this point I'm beginning to work out the positions of the objects. Fortunately, there are only 2 objects here, and I want to put them at an angle to the line of sight into the painting. Working out the placement was comparatively simple.

This is also where I begin to think about context; the surfaces the objects will rest on and the background. Since both sculptures are metallic, and relatively subtle except for the gold on the Buddha, I wanted to introduce strong color by way of a cloth underneath them.



My first choice was this red cloth. Although it is a strong, beautiful color, it's also very much in the same color family as the sculptures, and therefore a little monotonous.



The royal blue cloth is a much better choice, but I also found that I wanted to include some element of the red into the context, possibly as a backdrop.



That definitely is the overall effect that I'm aiming at, thought I do find the pattern on the backdrop cloth introduces too much activity into the scene.




Much better. It's the right color, and during the painting process I will just suppress the wrinkles in the paper.

So there it is, at this point I have the composition essentially worked out. There might be some very minor tweaks I make in the positioning of the sculptures, but this is the final form the painting will take. What you've just seen is for me the most enjoyable part of the process; it's where the real play and creativity is. From here on in, everything else is... well.. work!

Part 3 in the beginning of next week. Have a great weekend everybody.

The Mouse Project: How a Painting Is Made, Part 1

Yes, The Mouse Project...

About a month ago I was contacted by Steve Worthington, a sculptor who's doing an incredibly cool group project. He's asking about 20 artists to paint a still life that includes one of his wonderful little bronze mice. These paintings will then be collected into a book, and profits from it's sale will go to support animal shelters.

I thought everything about his idea was absolutely great, so I said yes immediately. The mouse that I chose (Sprightly, see above), has arrived, and now I'm ready to get going on my painting.

For some time, I've been thinking it would be nice to do a "How a Painting Is Made" series of posts, walking through the steps, beginning to end. Although I know some artists read this blog, I thought I'd aim this feature more at the general art lover who maybe does not paint; omitting some of the technical discussion and concentrating more on the thought process that goes into it. Essentially, it will be what you might see if you could walk into my studio and look over my shoulder. And please, feel free to ask questions at any point along the way.

I've set aside some time tonight to work on the composition, and I'll write that first post in the series tomorrow.

Oh, and the best part of this: Steve very generously gave me the choice of either returning the sculpture when I was done, or keeping it in exchange for the painting. I think Sprightly has found a new home :)

New Frame Stock

I've been framing my paintings with a gold-leaf moulding all along, but recently I decided to get some simple black stock as well. I ordinarily wouldn't place a dark painting in a black frame, but this was part of an art exchange with a friend, and he specifically requested a black frame. It works surprisingly well, and I think I'll start offering some of my smaller pieces with this moulding.

I mentioned yesterday that I'd have a post about the fun new project I'm starting on. Unfortunately, I got caught up with framing and logistical work today, so I couldn't really get going with that project. So... sorry for the teaser, but it will be worth the wait... promise.

In Progress: March 16

I didn't have a lot of studio time today, so I looked for a small project I could quickly finish. I'd done the drawing for this painting about 6 months ago, and thought I'd be able to complete the underpainting in the short time available. After about a week, this layer should be dry, and I'll be able to paint the color layer. I think it should be a nice little painting; I'm looking forward to it.

Most of the in-progress images I post here are of work on the final color layer, so I thought I'd show a little window into work on the underpainting (above). Here's the completed underpainting:




Tomorrow I'll be starting on a very, very fun project. I'll write a quick post about it in the evening.

In Progress, Day 4

Jeffrey Hayes
In Progress
6 x 11 inches

Actually, this painting is done. I won't post final images of it until it has dried and been varnished. It's probably hard to appreciate with this lower-quality shot, but there's a depth and richness to the color that I'm very pleased with, especially the copper, which has become one of my favorite things to paint.




I managed to finish it despite the torrential downpours we got here in Eastern Massachusetts; about 8 inches of rain in the last 48 hours - falling on saturated soil from another recent storm. I now have a nice duck pond where my back yard used to be, and water is flowing freely into my basement. However, so far the pumps have done their job, and it's been more of a nuisance than anything else. Others nearby were far less fortunate... mandatory evacuations, submerged automobiles, and all that.

Since I barely slept last night dealing with the water, I'm exhausted; think I'll head off to bed early.

In Progress, Day 3

More progress, and getting close to the finish. At this point, the biggest thing I need to worry about is anchoring the objects to the surface they're sitting on. Objects which aren't properly painted in relation to their context never feel like they have the proper weight and gravity, and as a result sit awkwardly in the painting.

And that, of course, just wouldn't do...

I wish you all a great weekend.

More In Progress

Jeffrey Hayes
Work In Progress
5 x 11 inches

Here is further progress on my current painting. I really like the idea of building paintings around 2 opposed and unequal groups of objects. It seems to lend the composition some built-in tension and intrigue. I'm almost tempted to call the painting "Culture Clash" or something similar, though that's probably more amusing to me than it is to most others.

In Progress

Jeffrey Hayes
In Progress
5 x 11 inches

This is the very latest piece I've been working on. I don't ordinarily work on one larger piece immediately after finishing another larger piece, but I'd completed the underpainting for this some months ago, and just wanted to get it done. After this, I'll be working on a very cool project; more on that in a few days.

After my recent cancer experience, I got a lot of messages of concern and support, so I thought I'd pass along some good news. Today I had my first physical since then, and overall I'm in very good shape.

So... back to work for me; I'd like to finish this one as soon as I can!

Facebook and Twitter Invite

I haven't mentioned it here in a while, but I have an active presence on both Facebook and Twitter. I'd like to invite everybody who reads this blog to join my Facebook fan page and follow me on Twitter.

Thanks!

Lime No. 2

Jeffrey Hayes
"Lime No. 2"
Oil on panel, 4 x 4 inches (10 x 10 cm)
Dimensions with frame: 8 x 8 inches (20 x 20 cm)
Sold