Portrait Creations/Class Schedules
Wednesday, December 17, 2014
Tuesday, July 29, 2014
Open Studio Sessions
I have not written since April!! Good grief, where did the time go? I think everyone switches to fast speed during this time of year. I had 2 wonderful weeks of art camp, a week with Max Ginsburg in June and have been busy with commissions, garden, family and living life in abundance! I have managed to take time for a few open studio sessions at Warehouse 521and have made some new art friends on that side of town. We can literally live all 100 years (as Max plans to live) and still not finish learning and enjoying all that is available to the artist!!!
CLICK HERE for Open Studio Dates at my studio and other events coming up!!
Christine Pilkinton Studio
Christine Pilkinton Studio
Here are the two portraits I worked on
in June & July at Warehouse 521
with some commentary…
|Rhian in paste|
|Photo with my phone|
|Charcoal on Canson 25 min sketch|
|Massing in pastel in vibrant colors|
in order to withstand all the blending later!!!
|Last photo of the day, still pretty bright but |
you have to remember that paintings are viewed
from 6 to 20 feet away. if you blend it down too much,
the values and color will not carry across a room!!
|She was great at gesture poses!|
|Charcoal on Canson, 25 minute sketch |
just getting a person down,
not too worried about the likeness at this stage!
|First layers of pastel color,|
modeling around the forms
|Getting the paper covered so I can start comparing values|
|Beginning to tie it together with a middle tone.|
|Portrait at 2pm when the whistle blew. Will I work on it more?…I don't know, |
What should I do?
Happy to take suggestions and comments!!
Monday, April 28, 2014
Drawing LESSONS...A quick synopsis of the past 8 weeks of drawing lessons. Each week I included a packet of worksheets available on my website by clicking here.
Along with measuring and proportions of length,
shape seeking helps with accuracy in your drawings.
A study of the basic shapes is so important.
Mass vs Contour
We are conditioned from childhood to draw an outline
and then color inside the lines.
Learning to see in mass, using the side of the pencil or brush
is an important step in thinking more in terms
of volume and dimension.
page from Andrew Loomis book "Creative Illustration"
Patterns in Nature
Thank you Juliette Aristides for introducing me to this valuable tool!
At Alan Lequire's studio, she had us draw a slice of cucumber being mindful of the design.
I have been so focused on creating what I see in front of me
that I forget the design element.
Nature provides SUCH inspiration and ideas!
Image from Mrs. Brown's art class
I am not 'math minded' so when it comes to degree of tilt
I find it easier to think of the hands on a clock as I compare angles.
This is so important in drawing. We often misjudge angles entirely and are not even aware.
We used tracing paper to note how many times
the angles changed even in just the right edge of the face.
Drawing by Carl Von Marr
Line Weight & Aerial Perspective
Juliette Aristides covers this her wonderful book which also comes with a DVD.
Using the thick or thin line to project an image closer or make one recede.
Image is from Juliette Aristides book "Lessons in Classical Drawing' page 83
An exhausting exercise in Shirley Pharris class in 1990's
helped me begin to look in a very different way.
We also took a look at how spaces and shadows around your subject
can play an important role in the whole composition.
Thank you Robert Genn for spurring me on with your experience
in being a juror and the common compositional boo boo's you wrote about.
If a viewer stands in front of your painting for 10 seconds or more,
you have most likely been successful with your composition.
Drawing the viewer in to visit, to stay a while!
Image taken from about.com article on composition
Recalling Dan Gerhartz method in our lunch and video series…
for recording the lightest light and darkest dark
at the very beginning and then comparing all values to that.
He also recorded & made note of the sharpest edge in the beginning.
Wonderful exercises to help us stay on track!
VALUE! VALUE!! VALUE!!!
image from barbarakempcowlin.com
Thursday, March 6, 2014
I know that some of you have heard my struggles with pleasing clients and the pressures that go along with painting to please someone else. I know, I know…I keep saying 'paint to please yourself'! Be true to your own instincts about this. Bottom line is that I ABSOLUTELY LOVE painting the face and the figure. I just don't get as excited about a still life or landscape!!!
I wanted to share a recent experience with you on a portrait for a beautiful bride to be…Krista! She is such a beauty that my main concern was capturing that beauty in a way that did her justice. She was recently married and shared the video trailer with me in which my portrait of her was featured for a quick moment toward the end. https://vimeo.com/88226033
I would have loved to work from life with Krista but it was not possible so I had to use the photos she sent. At the bottom I have included a head study I did of her one evening before beginning the portrait.
It is so rewarding to be a part of something as special as this and I wanted to share the process with you!!
Above are four of the images that she sent me to choose from.
I chose the one below
STAGE 1 Quick sketch with charcoal & blocking in color
STAGE 2 covering the canvas with my best shot at color & value, then beginning to tweak it
QUITE A FEW MORE STAGES IN BETWEEN..These were taken toward the end as I sent images to the client for input. Very minor changes were made as they made suggestions and as I continued to work
Final Comparison of a close up shot
Preliminary HEAD STUDY
Monday, January 20, 2014
Norman Rockwell Exhibit!
I visited the Frist Museum last week to see the Norman Rockwell collection! AMAZING!!!
I had no idea that his paintings...his brushwork would be such a pleasure to view! Almost as much as seeing Sargent's work in Boston some years ago!!! I did sneak a few shots with my phone! I am not promoting bad museum behavior, I just couldn't resist seeing those beautiful brushstrokes up close.
It is there until February 9 so by all means, get over there to see it! Notice how he signed his name differently in every painting. The paint on that palette in this first one, The Art Critic, was about an inch thick in places! It looked like sand & gravel in some of his backgrounds and the edges were not all sharp and rigid like I thought they would be. His skin tones were really amazing! I hope to get back before it leaves Nashville.
Thank you Frist for bringing it here! CLICK on the images to see them up close!