Orange E

Orange E   charcoal/watercolor   13.5 x 11

is our wonderful 7-year-old grandson, whose snaggle-tooth grin could not be ignored.  This drawing is, and was intended to be soft.  It is rendered in charcoal on Rives BFK, a highly-rated paper, usually used for printmaking.  It's soft surface and weight was perfect for this project.  At the end, I decided to use watercolor for his sweatshirt, as E.'s favorite color is orange, which he frequently wears.

In terms of photo references, I will admit that the lighting was not perfect, as the photo was taken during a Facetime chat...an amazing process, that I could never have dreamed to be possible.  We take what we can get these days.  Of course, for a dramatic rendering, where shadows and lights create a more interesting patterning on the face, a studio set-up with lighting and a more considered picture-taking process would have possible. 

I believe that, in this case, the softer presentation of everyday lighting worked out well.

And....btw....those baby-teeth-hangers-on have now been replaced with some emerging larger pearly-whites.  I love this age.  Enthusiasm.  A lightness of spirit.  Hope.

Ben

Ben   vine charcoal and conte crayon on paper   20.5 x 12

Bassham is an Emeritus Professor of Art History at Kent State University and one of my colleagues at Group Ten Gallery in Kent.  A few Saturdays ago, during our drawing exhibition, Ben agreed to sit for me while on duty.  My drawing, done in vine charcoal, was fairly complete after a couple of hours.  Actually, it might have been finished at that point...everything was in the right place.  I wished, however, to take the drawing to more completion, which is always risky, as too many details tend to detract from, and take power away from, the spirit of the work.  On the other hand, it can also lead to a more creative work, as contemplation allows for more push and pull, as I make decisions about which information is more significant.  (there is an absolute flood of information in the human face).  I also wanted to try my hand at suggesting his horn-rimmed glasses and his tiny-checked wool sportcoat.  Conte crayon was used for those passages.  A charcoal pencil, which allows for more concentrated dark marks, was used here and there for punctuation. A photo reference was used for this final session at home. I am pleased with this work.  Thank you, Ben!

Happy Father's Day...N and S

N and S   conte crayon, charcoal and watercolor on paper    10 x 10

This is a mixed media work on paper of my son and his infant daughter.  Nothing beats subject matter from the heart!  While the reference itself provided a diagonal movement, I strove for a horizontal melding of the two subjects by manipulation of the pigment.  Horizontal=Status=Restfulness=All is Right with the World.  Patterning within patterning.  Two become one. 

Amanda

is one of the many many models whom I have drawn or painted over the past many years.  While I do strive for a likeness of sorts, I most often use these sessions for experimentation.  As I recall, I was disappointed that I had rendered her face too long from hairline to chin.  However, this is one of my favorite portraits in its "feel" and its expressiveness. 

We have a new "print" rack at Group Ten Gallery.  Amanda is wrapped all in cellophane and is offered as an unframed work. 

Amanda?  I'm afraid that I don't even recall her last name....but I thank her nonetheless.

Amanda   charcoal   16.5 x 11

Model relationships

Deb   charcoal and pastel on toned paper   16 x 11

There is an unspoken communication between the artist and her model....a relationship, if you will.  A give-and-take.  And the artist is on the receiving end...we work with what we are given.  Some models seem to be emotionally closed off.  Some  seem "above" the give-and-take that leads to openness. Needless to say, portraits resulting from the above mentioned situations rarely provide great work from me.  I relish an honesty and an openness that allows for both the model and artist to reveal themselves without ego getting in the way.

I was pleased to spend time during my gallery "watch" sketching Deb.  She has an upbeat attitude that spills over.  Quite simply, I am inspired by her being.  This work was rendered on toned paper with charcoal pencil.  The pink pastel was worked horizontally through after the session was over.  I think the work benefits from this high voltage pink, which is her favorite color.  Thank you, Deb, for the sharing of yourself.

Rediscovery...

This week I have been getting some work ready for an exhibit which requires fetching, cleaning and, sometimes, framing.  In doing so, I come across works that had been put aside.  "Amanda" is such a work, a charcoal drawing which gave me pause.  In fact, I pulled it out twice.  Mostly, in pulling out past works, I focus and fixate on weak passages....those passages that haven't been considered.....well....well enough in my opinion.  In this case, I was pleasantly surprised.  Because I have been painting all summer, the strength of the drawing and its values pleased me.  I loved the quick and spontaneous way the charcoal stick had moved around the paper.  The color of mid-tone paper was satisfying.  I enjoyed the rendering of the short and choppy hairstyle.  I remember being disappointed at its completion that the likeness wasn't right-on.  In the rediscovery, I had completely forgiven myself for this shortcoming and was thrilled with its essence.

Time heals.  Rediscovery.

Amanda   Charcoal/Paper   16.5 x 11

Model Night...

Amanda   charcoal/paper   16.5 x 11

is a cheap thrill for me.  $5.00 paints the model for 3 hours sponsored by Akron Society of Artists.  I love these nights, for it is then that I experiment and hone in on certain goals or techniques that I have been wishing to attempt.  It is also the time for experimenting with different mediums.  My friend Shirley was trying her hand at pen and ink this past week.  I always go with a goal in mind.....nothing general like finding a likeness.  My goals are more technique driven.  "Amanda" was done with various charcoal sticks....I think mostly vine.  I arrived at my goal which was the placement of lights and darks.  In my frenzy, I did not measure so much so the likeness is off.  Even though the human head has some basic formula measurements, everyone is different, so it is dangerous to go to default.  In this case, Amanda's head was shorter, I believe, that the norm.....I found that out afterwards.  Oh well.....next time.

In The Pink

Chocolate Box   charcoal/toned paper   23 x 13.5

I am fortunate to be represented by Hudson Fine Art and Framing in Hudson, Ohio. Kathy Johnson, the owner, is a really nice person. She has been combining her business of art with the business of helping others ever since she took ownership. Earlier in the year, she hosted "It's Raining Cats and Dogs" to benefit The Humane Society of Greater Akron. "In The Pink" opens this Friday and will benefit The Gathering Place's annual retreat for women with breast cancer. This show features the needlework of Hudson's Pillow Group, a group of nine women who have formed a coalition of sorts, to share and promote the varied needlework art of its members: Beth Angelotta, Katie Coulton, Anne Cutchin, Brigitte Gottfried, Angela Strach-Gotthardt, Heinke Klaassen, Peg Mayor, Kathy Schiciano and Barb Warner. In addition to my work, the exhibit also features the work of fabric artist Connie Bloom, the collage and haiku work of Darcy Haynes and the work of fellow painter Tricia Kaman. There is a $10 entry fee for a fabulous opening this Friday from 5:30-8:30 pm at Hudson Fine Art & Framing located at 9 Aurora Street in Hudson. Support those with breast cancer. Support the arts. Support Hudson Fine Art & Framing. They are good guys. Or should I say gals?

Drawings

Laborer   charcoal/paper   15 x 21

Some artists use drawings only as vehicles in the preparation for subsequent paintings. I do that a lot. But I also like drawings as finished art. By subtracting color from the design mix, the resultant limited palette can carry lots of strength with value changes and creative line work. And I have always loved loved loved drawings done in earth tones....they convey strength and softness all at the same time for me. "Laborer" was done from a live model. John looks like the guys I see at Circle K at the end of each work day buying their high-powered beer to get them through an evening filled with aches and pains just to get up and do it again the next day. I respect their physical labors. An honest day's work. Little in the way of financial rewards. Fatigue. That is what I wanted the work to say. I can relate.

Braids

African Prince   mixed on paper   43 x 29

My mind adores free-play....where one idea leads to the next leads to the next.....Such was the case when I started experimenting with the linkage of charcoal drawing to crude printmaking. Our model for one 5-hour session was a young man college-bound in the fall. He arrived impeccably dressed....new shirt, new jeans and sparkling white shoes..............my heart fell. None of those things even remotely causes my heart to pitter-pat. Now his hair, all done in corn rows, was another matter. Texturally, braids of all kinds are beautiful and common to all aspects of life...in the garden, in weaving and in hair. Braiding is not only beautiful, it is strong, a way of combining single strands into a stronger group, yet retaining flexibility. Wow....I had my hook! The charcoal drawing was done during the session. At home, I carved a braided block and finished the work with printing. Nirvana! A braiding of several art forms that I enjoy!

Paying attention

Veiled   mixed on paper   19.5 x 14

I pay attention to things that thrill me. I love strong line. I love simple. I love spontaneity. I love imperfection. I love the searching. I love fabric designs and patterns, although I still love simple. I love finely detailed work, but only in certain passages. I love primitive art, although I know that is not who I am. And I love the paint quality that results only from printing, that which can never be achieved by direct painting. Up until now, I have tried to achieve the qualities that thrill me by painting only. Watercolors remained watercolors, oils/oils, and drawings/drawings. I seemed to enjoy the mixing of mediums, but felt that results were so often murky, and seemed to have lost intent. That is just my opinion, of course. Recently, I have been combining charcoal drawing and simple linoleum printmaking to create patterns, colors and textures. I love the results! I haven't experienced a thrill like this in quite a while.

Drawing from the Shoulder

Tricorne   charcoal and pastel on paper   18.5 x 11

As I journey into the land of "what makes my art mine", I try to imprint what has given me a thrill, what marks on the paper sing of expression, of desire more than perfection, of letting loose more than control. These marks or strokes more often originate from the shoulder, where the strokes become stronger and grander and faster. (marks made from the wrist are generally weaker and more perfect, due to the desire to maintain control). The drawing "Tricorne" started as most drawings do when I work from a model. I start by finding the major forms, searching for rhythms and always searching for the "likeness". Yet when I reevaluate the drawing much later, I find that what moves me the most are often errant, searching strokes that speak simply and imply "less" rather than "more". The white calligraphic stroke that describes the ruffled shirt is my favorite. I love energy in the stroke. Let that be a lesson to me. Control is over-rated.

Avoiding the precious

Pince Nez   mixed/paper   20 x 13.5

In my work, I really do try to avoid preciousness and perfection, which seems to kill the energy and, in the long run, the work itself. Playing with the media is a wonderful way to shake up the work and to push the envelope. Sometimes, of course, I am unable to retrieve the goodness of it all. But sometimes, by making the visual problem-solving more complex, I am surprised and delighted with the turn of events. In "Pince-nez", I knew that I would be working from a model. Ahead of time, I used watercolor to swash the surface of the paper in an interesting pattern. The portrait was worked over it with charcoal and pastel. Later I added gold leaf to the chain of the glasses.....I have had the gold leaf for many years in my cupboard and had not found a reason to use it. I am pleased with the results!