Ballpoint and Colored Pencils

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ballpoint-and-colored-pencilI practice drawing at least two hours every single day.  I especially love doing the face.  This picture is of my wife, Norene.

I have studied the structure of the face extensively, so I try to portray cheekbones, the bones over the eyes, the chin, eyelids, and lips.  You will notice this drawing is done with a ball-point pen.  I portray the shadowy areas with crosshatch.  The lighter the area is, the smaller amount of ink.  I have used colored pencils to add life to the face.  The shadow areas are in blue, and the lighter areas in yellows and oranges.

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Rachel

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slacktaThis is my granddaughter, Rachel. She’s a very petite little thing, and loads of fun to be with.

I wanted to portray her personality and innocence. One way I did it was to give the feeling that she is looking up at the viewer. Also I painted her slightly to the left of center make the painting interesting. Notice her hair. The sunlight hits the left side, so I have a highlight to the left side of her part. There is a cute gesture with her hair. Some of it flows out of place. Her shirt has little flowers embroidered on it, giving it a feminine feeling.

The background is very simple. I don’t want to distract from her. The color gives a feeling of sunlight.

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Work in Progress 2

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work-in-progress-21The cars are more defined; buildings show up, color is in the streets and lights. Basically, there’s a whole lot more emotion in the painting. I’ve moved from shapes and values to expressing the way I feel.

Watch out for the finished product in the next post or two.

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Work in Progress

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work-in-progressI’m probably best known for my night-time cityscapes. I’ve sold plenty of them. You’ll see a lot of them on my website. What you don’t see is how they’re created.

This is a painting of downtown Indianapolis at night. I love the feeling of nighttime with its lights, colors, and sounds. I wanted to develop that atmosphere in this painting. First, I put a whole bunch of lights on the canvas with white blobs of paint. Next I put in blocks of buildings and try to develop a feeling of perspective. Most importantly to me are cars. I start drawing abstract automobile shapes, usually with one main car and pieces of cars behind it.

After they are sketched in, I start slapping color in, usually yellows and deep blues to create the feeling of streetlight and nighttime. I have to have red cars somewhere. The closer cars will have splashes of colors to show reflections of the colors around them.

So now you can see how I start. Check out my site in two or three nights to see how my painting is progressing.

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Rose and Pearls

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rose-and-pearlsThis still life has a rose in a vase, pearls, and a silver canister. The tablecloth is black, and a sheet is attached to the wall as a backdrop. There are highlights in the vase which are made with white paint. Also you’ll see spots of white on each pearl and a black shadow underneath them. The edge of the tablecloth has a light value. The sheet is wrinkled. The area with direct light is white or light yellow. Note the bluish shade in the shadows. The rose petals are redder in the light than when they are not. The silver canister reflects the beads and whatever else is around.

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David and Kathy’s Pole Barn

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If you look at my blog on August 20, 2008, you’ll see a video clip of me with a couple of friends doing plein air painting in Brown County, Indiana. The property belongs to David and Kathy Martin. David built this barn. It is surrounded by beautiful flowers and trees. The atmosphere is delightful. I was there with one of my best friends, David Owen, one of Indiana’s upcoming artists. I think he’s a lot better plein air artist than I am, so I enjoy being with him so I can learn.

This kind of painting is out of doors on the scene. You slap the paint on fast and try to show emotion in your work. It’s a lot harder than it looks, but it is very fulfilling. The hardest part of painting out of doors is that the sun moves rapidly across the sky, changing shadows and light constantly.

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Shapes and Values

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I once showed slides of my art to a women’s group. One painting had a glass bottle with brushes in it. One of the ladies asked if I had used glass colored paint.

This painting has a clear light bulb with a problem of painting glass. There is a metal pair of pliers with a reflection problem. Lastly, there is an apple.

If you know anything about my technique, it is to look for shapes of colors and values, not at the specific items. I see a shape inside the bulb that has a light pinkish color. I paint it. The threaded part of the bulb has shapes of white and dark parallel lines. I paint them. The pliers have shapes of black lines and shapes of white lines, etc.

Just forget about trying to paint the objects. Find the shapes and values. That’s all there is.

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Burn the Midnight Oil

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I’m often asked by people why I am having success at an artist. They all tell me how lucky I am, that they wish they could have things work out like I have.

Here is the well kept secret to my success:

Burn the midnight oil. Take hours and hours of classes. Paint for hours every day, every week, every year. Draw for hours on end. Take endless chances. Get turned down over and over. Have one success for every thirty failures. Be told you’re not very good. Then keep going over, and over, and over, and over. After all that, you’ll just be getting started. Then keep at it . . . and keep going over and over and over and over. Then after several years, you’ll all of a sudden have a little bit of success and people will tell you how lucky you are.

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