tag:blogger.com,1999:blog-72816840908306127422024-03-14T03:56:46.817-07:00C.R. Jones Portraiture and Fine ArtPaintings and sketches of fine artist C.R. JonesC.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-7281684090830612742.post-6559480563629231072015-12-04T14:17:00.002-08:002015-12-04T14:18:09.289-08:00The Passing of Oddysseus and the Fate of the SirensBeen a long time since I posted here. But I thought I would get back into it by sharing a recent oil painting I did for a show I participated in called "Taking Sail" down in San Diego's Little Italy neighborhood a couple months ago. I love landscape painting and I also love figure painting. So I wanted to create something which incorporated that in a nautical setting.<br />
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<i>(click image for larger view) </i></div>
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A classical style mythological painting came to mind as a great way to work in all that I wanted to do. There was a lot of planning and research that went into this. First, I decided that that the story of the Sirens might have some potential since it involved the ocean. As you may remember from Homer's <i>The Oddyssey</i>, the Sirens were beautiful women/bird chimeras whose song drove sailors mad and made them steer their ships into the rocky shore. Many depictions of the Sirens throughout history show them as fully human women too, so I thought that would work best for my needs. After some reading, I discovered that, according to some of the myths, if a Siren ever let a ship pass them by, without killing the sailors, they themselves were cursed to die. It struck me as a particularly emotive subject to show the moment when the Sirens realize Odysseus and his men have successfully avoided them. Most artwork throughout history that show this famous passage from The Oddyssey, generally stage it from hero Odysseus' perspective tied to the mast of his ship, and beset on all sides by the malevolent Sirens. After I discovered that the Sirens had their own reasons for doing what they did in the stories, I wanted to flip the traditional perspective and show what the consequences were for these sad creatures.<br />
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After deciding on a subject and general composition, I scouted all over my local coastal areas for just the right shape of rocks. Then I did three different plein air studies at the beach location at different times of day to figure out the lighting I wanted (a stormy overcast sky seemed more fitting to the tragic subject). And finally, I got a model to pose for the Sirens themselves. I worked mostly from photos I took while referring to my plein air color studies.<br />
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I wouldn't mind continuing to dig through old myths for new inspirations on paintings in the future.<br />
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The finished piece is 18 x 24" on stretched linen.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-62475887251424815982015-01-16T18:15:00.000-08:002015-01-16T18:15:32.225-08:00It's been about a year, so I figure it's time for another blog post!<br />
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Let's see. Since the last time I checked in here, I've been doing my normal studio illustration and private commission work throughout the year for various clients. In August and September, I went to Austria to give a presentation at an artist's convention. In October I got married, and went to Europe again for our honeymoon to England, Belgium and France. And I have been oil painting for pleasure whenever I get the time. Most months, I lead an informal outing of plein air painters with the San Diego chapter of the California Art Club. And most Saturdays, I paint portrait studies from models with a small group of artists in La Jolla.<br />
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Here's some highlights from 2014:<br />
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Commemorating the passing of local legend Tony Gwynn.</div>
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A canine watercolor portrait </div>
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A few oil painted studies from life...</div>
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This portrait was an unusual request from a local gallery. But was fun!</div>
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Giving a seminar at a small artist convention in Vienna.</div>
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Enjoying Bruges with my new wife.</div>
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-90288861798047584282014-01-10T16:36:00.000-08:002014-01-10T16:40:09.990-08:00Portrait WorkshopJust started teaching a private oil painting workshop for artists working at a tattoo parlor here in San Diego called Bearcat Tattoo Gallery. They're a great group of guys who are looking to broaden their skill set and get more into artwork that is not directly applied to the skin! We're focusing on portraits and still life. Thank you to art model Valerie Lopez.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-21567052805713240182013-07-12T18:40:00.002-07:002013-07-12T18:49:44.519-07:00Painting in the Sierras with Jeremy LipkingI recently returned from a week in the eastern Sierra Nevada mountains in California. I attended a workshop given by one of my favorite fine artists, Jeremy Lipking. We painted at least twice each day for five days, with Jeremy giving daily live demonstrations and he also would come around to help each of us as we painted.<br />
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The first time I had ever been to the eastern Sierras was on a week long backpacking trip with a school group in 1989, hiking from Mammoth Lakes to Yosemite Valley, across some rough terrain. And I had gone back a couple of times to Mammoth and Mono Lake with friends. But this workshop took me back up into the really high country--painting at around 10,000 feet almost every day. There wasn't too much hiking involved in this trip. But the little bit we did do was made a bit more taxing with the thin air and the fact that I am no longer a teenager! But it was an awesome backdrop for plein air study, so I didn't mind. <br />
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This workshop was also the first time I have done so many plein air paintings in so short a time. Usually, back at home, after I've done one three hour outdoor session, I'm ready to call it a day. But we stayed out all day, in the sun, wind, and occasionally bad mosquitoes to do two paintings each day of the trip. The constant focus and mental energy required in these outdoor environments really showed me some of my weaknesses.<br />
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The main bad habit that was made obvious was how I often rush through the early stages of a painting to get to the "fun part." Watching Jeremy work so carefully and methodically was really great to see. He took his time laying in the initial drawing, and then still took his time as he started blocking in the big shapes with color. He took great care to design the strokes and edges, right from the beginning. Jeremy could have stopped his painting at any time and still had a really nice composition. That's something I need to remember well.<br />
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The other bad habit I noticed is how I always include too much subject matter in the composition. There's nothing inherently wrong with trying to paint a grand panorama in 3 hours. I generally work pretty small. But I do that too often. Which usually results in a blocky, crudely captured scene with very little subtlety. One great demo Jeremy did one day was at the edge of a large grove of aspen trees in Lee Vining Canyon. He spent all his time on one single aspen and the shadow it cast on the ground. It was more of a meditative portrait of that single tree than what most people think of as a plein air landscape painting. Everything else was sort of out of focus ending in a vignette of the scene. By focusing on just the one tree, he was able to really explore the subtle shifts in color within the shadows on the trunk and give a nice variety of edges to his shapes.<br />
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Finally, one other thing I learned in the workshop was how it's not important to always try to pick "the perfect view" which lends itself easily to a classic landscape composition. A great painting can be found in a small corner of a canyon, or next to a couple boulders, or some small detail you might pass by on a nature hike. It can be minimalistic or not classically "pretty." The critical thing is to just get out there, no matter where you are, and find something that catches your eye. Plein air painting teaches you how to compose and re-arrange elements to serve the composition, how to economize your brush work, make quick on the spot decisions, and learn how to capture the light and atmosphere of the time of day.<br />
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Here are some of the pieces I did on the trip. They range in size between 6 x 8 and 8 x 10 inches. Click on the images for a larger view.<br />
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At Mono Lake with most of the workshop group.</div>
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-39941662551195451872013-04-19T13:05:00.001-07:002013-04-19T13:05:06.011-07:00AbeHere's a new little oil painting I did this week from a photo of Lincoln. I love antique photos. The people back then had so much character--wearing their life stories on their faces more than we do today. I had to invent the color, of course, keeping the values darker than the photo and a bit on the warm side. I wanted the mood to feel warm, inviting and reminiscent of older paintings that darken with age, and where the original artist was likely to have painted the sitter by candlelight.<br />
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This is 11 x 14" on a linen panel.<br />
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And a larger detail shot.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-89608082039028171412013-03-30T13:24:00.000-07:002013-03-30T22:41:05.746-07:00ValerieHere's a painting of model Valerie from last week's Art Gym open workshop at the San Diego Art Institute. She was posing for the figure, not portrait, and had to change her pose shortly after she began because of discomfort. So I ended up scrubbing my first session and had a little less than two hours to do this study. 12 x 16". Oh, and I had to set up pretty far from the model--about 20 feet away. The distance and the short time helped me stay loose, I think.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-40378027881894623052013-03-23T13:13:00.001-07:002013-03-23T13:13:19.450-07:00At the PresidioThe quarterly paint out for the San Diego chapter of the California Art Club met at The Presidio in Mission Hills last weekend. I haven't done a lot of architecture in my plein air studies in the past. Generally, I prefer the look of untouched nature. But the old missions around California do provide some pretty good subject matter.<br />
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I painted this by starting with a warm Burnt Sienna wash in the dark areas, and then kept the colors relatively warm throughout the painting. The morning started off very overcast, but when the sun came out, thankfully it was behind this building so everything here remained in shadow for the two and a half or three hours I was there.<br />
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9 x 12 inch gessoed panel<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-53979378642005688132013-02-28T23:58:00.002-08:002013-03-01T10:58:54.815-08:00A trip to the museumMy, it has been a loooong time since I posted last. I apologize. I have been busy with one job after another. And updating the blog just kind of slipped my mind.<br />
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But I would like to get back into it by sharing a bunch of photos I took at the "Illustrating Modern Life" show at the Weisman Museum of Art at Pepperdine University in Malibu, California. The works on display there are all Golden Age illustrations from the Kelly Collection. And it was one of the best collections of illustration art I have seen in person since a trip to New York I took several years ago.<br />
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The "Golden Age of Illustration" is considered to be the period between 1890 to about 1930. So much fantastic art for publication was produced during that period because of the development of halftone printing in the 1880s. The Golden Age came to an end in the late 1920s or early 1930s as tastes began to change and this type of work was seen as old-fashioned and irrelevant.<br />
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In my opinion, the Golden Age was indeed the peak of illustration art. Very few artists since then have ever come close to producing the quality and quantity of popular art that was made then by the likes of Howard Pyle, J.C. Leyendecker, Dean Cornwell, Norman Rockwell and many others.<br />
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If you ever get a chance to see a show like this, even if it is several hours away from your home town, you should do it. Seeing these illustration pieces in person is incredibly inspiring and informative. There is so much that can be learned from getting up close enough to breathe on them. What I saw in many of the works, in this show at the Weisman, is just how thickly and loosely many of these canvases were painted. Most of them are very large, and the artists really explored the physicality of the paint. Even the Leyendeckers had some very thick areas on them (not many though). And in many of them, like the Rockwell, you can see much of the underpainting showing through the thicker brush strokes, giving an idea of the aritsts' process and methods.<br />
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Most of these works should be considered no less than truly great <b>fine </b>art, regardless of the original commercial reasons for creating them. I always like to tell people that the Old Masters from the Renaissance like Michelangelo, daVinci and Raphael were essentially lowly commercial artists, commissioned by the church and the wealthy to do very strictly designed propaganda to sell an ideology and lifestyle to the masses--which is basically the same as advertising art and commercial illustration.<br />
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Most of all, seeing shows like this makes you want to go home and paint, and paint boldly--not just get through your assignments or commissions with the bare minimum of work to complete the job, but to go out of your way and take pride in every piece you do, no matter what the purpose of the illustration is or how small the publication. You may not start working that way instantly. Because working with the ethics and care of the Old Masters is hard--really hard. But the idea germinates for a time, hopefully takes hold and finds its way out of you.<br />
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The "Illustrating Modern Life" show will be on display until March 31, 2013. You can see more of the collection online and find out about the show here: <a href="http://www.thekellycollection.org/home.htm" target="_blank">http://www.thekellycollection.org/home.htm </a><br />
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Click the images below for a larger view. <br />
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Howard Pyle's "Dead Men Tell No Tales" 1899</div>
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Dean Cornwell's "Waiting" 1920</div>
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Dean Cornwell's "$2000 Reward" 1921</div>
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Dean Cornwell illustration from the book "The Man from Gallilee" 1928</div>
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Mead Schaeffer's "Hide the Body" 1933</div>
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J.C. Leyendecker's "Kissing Cupid" 1923</div>
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J.C. Leyendecker's "Beau Brummell" 1925</div>
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J.C. Leyendecker's "Tally Ho" 1930</div>
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Norman Rockwell's "Dreaming of Adventure" 1924</div>
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-26409867974395924082012-09-29T12:50:00.001-07:002012-09-29T13:12:44.891-07:00Zorn PaletteAs mentioned in my previous post, I'll be teaching an oil painting class at the Watts Atelier next semester beginning Oct. 8. The class focuses on three limited color palettes: Burnt Umber, Zorn Palette and Warm/Cool. Here are a couple studies from models I did this week using the Zorn Palette, which consists of Titanium White, Ivory Black, Cad Red Light (traditionally Vermillion) and Yellow Ochre. It always amazes me how flexible this palette can be and what a wide range of color effects you can achieve. I was able to accurately capture two models with very different complexions and hair colors. And, of course, the effect of doing a limited palette painting is that the work ends up being more tonally strong along with a better sense of atmosphere unity since there are no strong vibrant colors that take over.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com5tag:blogger.com,1999:blog-7281684090830612742.post-60147127669299749502012-09-26T13:05:00.000-07:002012-09-26T13:42:19.762-07:00New 10 Week Oil Painting ClassI will be teaching a class next semester at the <a href="http://www.wattsatelier.com/Art_Instruction/Classes/cms.aspx" target="_blank">Watts Atelier</a>, in Encinitas, CA, beginning Monday Oct. 8. It will be "Portrait in Oil: 3 Palettes". The class will run for 10 weeks from 7pm to 10pm. Here is the official course description:<br />
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<i>The focus will be on a direct approach to painting the male and
female portrait from life. We will work on application, indication and
manipulation of edge, value and ultimately color to indicate the head in
oil. This class will focus on three different palettes. Students will
start with Burnt Umber Pickout, which is a monochromatic approach. We
will then move into color using a four color limited palette know as the
"Zorn" palette. For our third palette the students will then explore a
full Warm and Cool Primary palette. Frequent instructor demonstrations
and critiques are routine.</i><br />
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If you are a seasoned painter and want to start painting at a higher level, or if you are just starting out, working with very limited palettes is a great technique to learn to handle the complexities of oil paint while focusing your attention first on shape design, edges and values, rather than color. The first three weeks deal with burnt umber pickout, where there is only one pigment used along with turp/mineral spirits. Burnt umber pickout painting is a great bridge between drawing and painting, being more similar to charcoal drawing than alla prima painting.<br />
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Soon I will post some Zorn palette and Warm/Cool palette paintings. But for now, here are a couple recent burnt umber pickout studies I created from photos. Sign up today at the <a href="http://www.wattsatelier.com/Art_Instruction/Classes/cms.aspx" target="_blank">Watts Atelier website</a>!<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-65398964758367654832012-09-03T13:29:00.000-07:002012-09-03T13:29:10.883-07:00A couple new head studiesI recently joined the California Art Club and participated in a local paint out. We had a model named Briana who reclined on a cushioned table top as several of us set up our easels 360 degrees around her. I was toward the feet end of the table and wondered how I would do with my first greatly foreshortened head painting. I spent a good deal of time blocking in the head and features with a thin brush before starting to paint, and I'm glad I did. The pose was rather challenging, but I am pretty happy with the outcome. Even though I didn't have time to finish the hands and arms. This is on a New Traditions Panel with the L219 linen. The size is 12 x 16"<br />
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And here is a quick portrait study of a man from this year's Gaslight Gathering in San Diego, a local steampunk costume convention. I have several other photos from the Gathering which I hope to paint from. This is on a New Traditons Art Panel with the Claessen's 12 surface. 12 x 16".<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-70330338934904532092012-07-10T23:24:00.000-07:002012-07-10T23:24:19.065-07:00This is a 3 hour oil study from a model under a soft light box simulating north lighting -- the final painting from Jeff Watts' lighting situation class This is on an 11 x 14" Fredrix pre-made oil primed panel that I wanted to try. I did not care for the weave of the canvas or how the paint handled. It was too difficult to move around. Nonetheless I am happy with the portrait overall.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-26049206818465972152012-06-29T17:48:00.001-07:002012-06-29T17:53:29.262-07:00HandiworkI thought I would post some of my hand studies from a class I took several years ago with Jeff Watts. We didn't focus on anatomy so much as just jumping right in doing studies from photos and the old masters' before ending the semester by working from a live hand model. Hands can be difficult, but they don't have to be if you take the right approach and keep focused. I learned two basic approaches to painting hands: The classic/Rockwell style which used a more detailed line drawing to begin the painting, or the alla prima method favored by Sargent and Fechin, which was more of a tonal block-in approach where you paint colors and shapes and refine them as you go. I ended up preferring the second alla prima method. It was more enjoyable and I liked the results of those types of paintings better.<br />
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As I focus more on portrait painting, I need to remember the foundation lessons from my early training, like these studies below.<br />
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After Sargent and Bridgman</div>
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From photos</div>
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Quick paintings from a live model</div>
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com1tag:blogger.com,1999:blog-7281684090830612742.post-4985821493116748152012-06-22T12:19:00.000-07:002012-06-22T12:19:51.680-07:00SakuraThis is a little study I did from a photo of a friend's daughter. I hope he doesn't mind! 9 x 12" Fredrix oil primed linen panel.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJfQcq7vVfA4R3GLTINOcPauumm9Qn9tGlAzBCYWbNEqWWvhjqkbyuU19STu4DDLkvNjJQTOTu-47uCW8HrTT_ZdsZRBRMi6QzbiTp9nvNvjX7zuEWcc-WXJSuRF8kCHYZv_Kwl4NmqTI/s1600/Sakura-9x12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJfQcq7vVfA4R3GLTINOcPauumm9Qn9tGlAzBCYWbNEqWWvhjqkbyuU19STu4DDLkvNjJQTOTu-47uCW8HrTT_ZdsZRBRMi6QzbiTp9nvNvjX7zuEWcc-WXJSuRF8kCHYZv_Kwl4NmqTI/s640/Sakura-9x12.jpg" width="481" /></a></div>
<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-72090942469018619572012-06-15T12:27:00.000-07:002012-06-22T12:20:13.531-07:00Here are a few new paintings from my extreme lighting portrait class at the Watts Atelier.<br />
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2.5 hours 12 x 16" on gessoed panel under blue lighting<br />
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2.5 hours 12 x 16" on gessoed panel under red and green lighting<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4wJPaCmRI8ZOJQ4FBPGA3kG_gEE5a7d_zHkTkMa61Tt7ITSgQFSUi9fak4kD0tkRMtRg-k3teV4XEflwhZgJ_45GE-d77sbYQLwncGLX2qIEY1kLUyBmfIVqaHfrXpxyhi7P0at8Dk9x/s1600/Male-Head-Green-and-Red-12x16-0612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4wJPaCmRI8ZOJQ4FBPGA3kG_gEE5a7d_zHkTkMa61Tt7ITSgQFSUi9fak4kD0tkRMtRg-k3teV4XEflwhZgJ_45GE-d77sbYQLwncGLX2qIEY1kLUyBmfIVqaHfrXpxyhi7P0at8Dk9x/s640/Male-Head-Green-and-Red-12x16-0612.jpg" width="474" /></a></div>
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<span id="goog_2061483225">40 minute gesture painting on 8 x 10" gessoed panel under white and blue lighting</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8gPUY7ACRt63ZQi9QmB6ulbyK13tzk3yVX8amNt5tUZU7swxW644-i2I8WxV4Jl063KjJuytTiRt9hxCrLGrv7LTorrMIiJ_fe_v_ZBDiH-ZL01w0m0hvGmY07RGRr5RIhJHvnQEUB0th/s1600/Female-Gesture-B-40min-8x10-0612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8gPUY7ACRt63ZQi9QmB6ulbyK13tzk3yVX8amNt5tUZU7swxW644-i2I8WxV4Jl063KjJuytTiRt9hxCrLGrv7LTorrMIiJ_fe_v_ZBDiH-ZL01w0m0hvGmY07RGRr5RIhJHvnQEUB0th/s400/Female-Gesture-B-40min-8x10-0612.jpg" width="322" /></a></div>
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<span id="goog_2061483225">Another 40 minute gesture painting on 8 x 10" gessoed panel under white and red lighting</span><br />
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<span id="goog_2061483225"></span><span id="goog_2061483226"></span>C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com1tag:blogger.com,1999:blog-7281684090830612742.post-67017520717185489502012-05-29T00:29:00.001-07:002012-06-22T12:20:31.396-07:00A quick time lapse of a portrait<br />
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Here is a little time lapse movie I made using still shots I
took while working on the portrait I posted last week. Click the YouTube logo
to find the high res version.</div>
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<br /></div>C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-83061885400660161252012-05-25T15:15:00.002-07:002012-06-22T12:20:40.503-07:00Extreme LightingI'm currently taking a class at the <a href="http://www.wattsatelier.com/org/WattsAtelier/cms.aspx">Watts Atelier</a> taught by Jeff Watts in head painting with an emphasis on unusual lighting situations. There's a new model every week where the lighting is drastically different or theatrical. Each study had been a fantastic exercise in helping me break out of formulaic approaches to head painting. When there's a shadow running down the middle of the face, extreme backlighting or colored lights it compels me to take a fresh approach to not only mixing colors for the flesh tones, but how I build up the forms and how to balance halftones with shadows and highlights. Here's a couple 2.5 hour studies from this class.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYJqufQaheHHYAD_9eMFt8vGenxq7fGo8IQc0rRjxPPVNfoVKacdh3kDJEc8Z4u0kSrecPW6TXAWm8BKoIerMRbfuUecdeCyy-ALs8MA_FxpX2yAAoPUnPbMCcC7pS29Qm7ofmxDIQ-ML-/s1600/Male-Head-0512-12x16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYJqufQaheHHYAD_9eMFt8vGenxq7fGo8IQc0rRjxPPVNfoVKacdh3kDJEc8Z4u0kSrecPW6TXAWm8BKoIerMRbfuUecdeCyy-ALs8MA_FxpX2yAAoPUnPbMCcC7pS29Qm7ofmxDIQ-ML-/s400/Male-Head-0512-12x16.jpg" width="298" /></a></div>
<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-64542655834876400712012-05-23T18:17:00.002-07:002012-06-22T12:20:58.901-07:00A Recent CommissionI just handed over my latest client portrait. This was commissioned as a gift for his daughter-in-law as a birthday surprise. She lives out of state, so they had a professional photographer shoot her in studio without telling her why she was having her photos taken. The client and I were then able to work together to choose the right piece of reference from the proofs <i>(a funny side note: the photographer did a bunch of filtering and softening of the hi-res photo to compliment the model's beauty, which is what she normally does for clients. But it erased nearly every bit of surface texture and subtle plane change on the face, so I had to ask for a raw untouched photo, which I did get.).</i><br />
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I painted this on one of the New Traditions Art Panels that I mentioned in my last post. It was a very smooth linen with an almost undetectable grain. That made this piece very easy to photograph without capturing a bunch of little reflections off the surface.<br />
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This is 16 x 20 inches.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-89172900200002756802012-05-14T13:39:00.002-07:002012-06-22T12:21:07.185-07:00Small Head StudiesI recently bought a sample pack of New Traditions Art Panels to try out some different surfaces. New Traditions makes fine art canvas panels which can be ordered with a wide range of linens and canvases mounted to them. Since this was my first time ordering from them, I opted for the pack of six different canvas types at a size of 8 x 10" to take each one for a test drive with a small head study. They range from very smooth to very coarse. I really liked almost all of the surfaces, but my favorites were probably the A600 surface and the C15 surface. Both of those are acrylic primed linens.<br />
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For the past five years, I have been painting on nothing but smooth oil primed linens like Claessens 13 and Raphael's portrait linen. And I have gotten very used to the ultra smooth slickness of those surfaces. So these New Traditions acrylic primed surfaces were a surprisingly nice change of texture. I've been wanting to loosen up my finished style more lately, and rougher acrylic linens allow for a bit more flexibility because the tooth of the canvas holds onto paint a little more strongly, and I can do more effects like finger swiping, blending and thick impasto strokes at any point during the painting.<br />
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Smooth oil primed linens like Raphael's and Claessens oil primed surfaces are a bit more temperamental and require more layering and drying before being able to gracefully smooth out an area. If you brush too hard or try to swipe with your finger, you tend to rub off all the paint back to the original white of the canvas. But these NT panels were a little more friendly to me in that respect.<br />
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Check out New Traditions Art Panels <a href="http://www.newtraditionsartpanels.com/index.html">here</a>.<br />
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Anyways, here are a few of my recent 8 x 10" studies on the NT panels. I spent about 2 hours on each one.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com0tag:blogger.com,1999:blog-7281684090830612742.post-29443133117848059792012-05-04T23:45:00.000-07:002012-06-22T12:21:20.137-07:00Welcome.People are probably my favorite subject to paint. I love still life and plein air landscapes, of course. But nothing comes close to the challenge of capturing a likeness in a portrait while still creating a dynamic composition with an instant appeal and impact that makes the viewer want to simultaneously step forward for a closer look while also wanting to stand back to take in the whole effect. That's what I love most about viewing good portrait art by the likes of Sargent, Zorn, deLaszlo, Lipking, Schmid and many others.<br />
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I will endeavor to keep this blog updated frequently with my latest works: formal portraits, informal studies, still lifes, landscapes, sketches or whatever else peaks my interest.<br />
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<br />C.R. Joneshttp://www.blogger.com/profile/11777245725419782223noreply@blogger.com3