Thursday, February 26, 2015

Freinsheim Pond


25 cm x 30 cm, Oil, Plein Air

I miss my iphone. My iPad camera gives it that nice extra kick of chalkiness :-(

P.S. I lost my mobile there


42 cm x 29.7 cm, Oil, Plein Air

Tuesday, February 24, 2015

Monday, February 23, 2015

Saturday, February 21, 2015

Friday, February 20, 2015

Thursday, February 19, 2015

Special Agent 211



29.7 cm x 42 cm (A3), Oil

2 parts linseed oil
1 part standoil
1 part mineral spirit

... odorless painting medium for Alla Prima (painting in one go).

Wednesday, February 18, 2015

Margaret


A4, Oil, 20 min studies from Croquis Cafe photos

Sunday, February 15, 2015

Elle est Teresa


25 cm x 30 cm, Oil

"Peace begins with a smile"

Beaver Creek Mountain - Artrage Study


Artrage Study (iPad)



Reference Photo



A study to improve my color imagination, the ability to get more "creative" with color without making things look (too) wrong. I prefer to do those electronically because of the undo button. By simply trying lots of things without the hassle of scratching paint off, I expose myself to a large number of color combinations and hope to improve more efficiently.

Saturday, February 14, 2015

Big in Japan


25 cm x 25 cm, Oil

This was inspired by one of the fantastic works of David Shevlino. I didn't copy it though but painted from this photo:

Gertraud


21 cm x 29.7 cm (A4), Oil

Friday, February 13, 2015

DV Goog Johann Lafer


21 cm x 29.7 cm (A4), Oil, 60 min time-limited. Happy with it.



Mr. Lafer is from Franconia, a german region with a sweet dialect. The T is pronounced as a D, C and K like a G. P as a B. 

I am bissed begause sere is so much on googing on delevision and so liddle on bainding!

Wednesday, February 11, 2015

The 80 Conference


30 cm x 20 cm, 1 liter acrylic paint on the left half of the canvas, 0.02 microliter finest oil paint on the right half.


I read that the 80 richest people own as much as the poorer half of the world population.
Averaged, an individual of the 80 owns about 45 million times more than an individual of the poorer 3.6 billion.
At first glance, one may find this unfair. After thinking about it, i find a ratio of 1 to 45 million not really dramatic anymore. Impressive I find the ratio between the volumes of Lake Michigan and the sun, for instance. The volume of the sun is about 3e14 (300'000'000'000'000) times larger. That is a lot and a demonstration of the proportion would be on the scale of artworks by Christo and Jeanne-Claude!
Compared to that, the unequality of wealth is almost negligible and one can show this proportion with paint on a small canvas. The amount of black paint (1 liter) on the left half of the canvas represents the 3.6 billion people, a proportionally smaller amount (0.022 microliter, the volume of a cube with a size just below 0.3 mm) applied on the right represents the 80. Small but still easily recognizable by eye. Okay, what comes to my aid here is that the 80 are all on one spot. Why actually? They must be having a meeting or something...


The 80 Conference

Agenda:
▪️Protection of the wealth of the 80 with consideration of humanitarean aspects
▪️Strategies to promote the drive to populate planet Mars
▪️Funding of schoolbooks with dish washer stories in all languages
▪️Funding of a technology making sullage drinkable
▪️Privatization of the sea

Tuesday, February 10, 2015

Monday, February 9, 2015

Learning to draw the head after Andrew Loomis

I had my doubts about this. Why should I learn to draw a head using a standard and why try to create a kind of 3D sketch? Every head is different, so why learn standards at all? Why 3D sketch and not simply draw/paint what i see in front of me? Will the 3D look not come automatically if my drawing is accurate?
There is no simple answer but simply a very strong argument for me to move into this more seriously now. I have been looking into many portraiture tutorials online. Those people that start out by constructing the 3 dimensional form of the head on their canvas (instead of just measung distances in the object plane) accomplish portraits that look way better.

To teach myself, I follow the explanations given by Andrew W. Loomis, author of some of the most famous (and beautiful) instructional art books.
Link to "Drawing the head and the Hands" by Andrew Loomis

I believe in the old latin principle: The best way to learn is to teach! If this principle is true, learning from anybody who teaches is second best, at best....



Front view construction of Mr. Standard in words:
Draw a circle (but think of it as a sphere) with center cross. The horizontal is the brow line. Indicate hair line, then nose and chin line. those horizontals are equidistant. Cut out the sides of the sphere, such that the height of the resulting flat surfaces is 2/3 of that of the sphere. Draw the shape of the chin. The top of the ear lies on the brow line, the bottom at the nose line. The eyes line is located in  the middle plane between top of the head and chin. The mouth is located at 1/3 of the nose chin distance.
In front view things look pretty flat, the true advantage of this approach becomes apparent at other viewing angles and perspective comes into play.


Ear located between brow line and nose line, just behind the the center of the flat side plate.













TV Screenshot Faces


Pencil, 7 min 20 s each, that's the time my TV automatically unfreezes after i press hold... for whatever reason. Found my progress curves in painting flattening out, a good point of time to put the focus on drawing, an area i have pretty much neglected the recent weeks. 

Saturday, February 7, 2015

Pink Rose Study 2


15 cm x 15 cm, Oil

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Friday, February 6, 2015

Campaluna x Haylodgensis


30 cm x 22.5 cm, Oil

The 250 Interview


20 cm x 15 cm, Oil, Blockstudy 250



Newsie: 250, congratulations!

Painter: Thanks

Newsie: After so many studies your paintings still do not sell and some critics state your painting is nowhere, to put it kindly. For how long will you stick to your coach?

Painter: You are rising a valid point there. Nobody is happy with the current situation, of course. At the recent meeting of the board of directors voices became prevalent saying the need for good color in painting is overrated and that adequate choice of subject is much more important with regards to economic success. The leadership has agreed to not watch this any longer but decided to take hard and immediate measures. It has informed the coach that the collaboration will end by the next meeting of the board already, if the situation is not found to be dramatically better.

Newsie: When is this meeting scheduled?

Painter: Right after blockstudy fivehundret.


Richard von Weizs├Ącker (1920 - 2015) :-(


Thursday, February 5, 2015

Wednesday, February 4, 2015

Who let the Blocks out?



20 cm x 15 cm, Oil, Blockstudy 249


There was this song on the radio when i did this one. 
Didn't get the text really so i changed it a bit...

--- Who let the blocks out? Who? Who? Who?

That's me, man, to work on my color.
The old honcho told me do
Cause it's the funk stuff to really improve.
And where's the point to paint without color?
Refrain...

Good color is rare, more precious than gold.
The reason my shit is not being sold.
Stop dicing you fool, about time for a change
No apples or cups will do us the same
...
Flowers or fruits sweet as a girl.
Stay in your garden watching them grow?
Go round the blocks and be up for a test.
Show them your colors to see who's the best.
...
It took 20 years for them to be cool.
Ask them on blocks now, how many or few?
Think there's no way to get there much faster?
So keep doing the stuff that you never will master.
...
Pureness of color is what we are about. 
Forget what the rest thinks, throwing the mud.
They don't see the beauty, simple and clean.
Cool man you got it and know what i mean.

Now get the blocks out! You! You! You!

;-)

Stolen Snow - Painting


30 cm x 40 cm, Oil