Glazing

After a couple weeks, I put this back on my easel to try and create a more realistic piece. I used several glazing applications. I am afraid I have much to learn with this technique.

I believe it helped and I will continue putting several more glazes on hoping it will accomplish what I want!

Will I ever finish...

Another layer added and many more after that. I was not liking the color of my darkest shadow. So I painted over again and again. I also darkened the eyes then lightened them again.

The green background was not doing it for me. I decided to painted over it.

After much frustration, I finally had to put this project to rest in order to come back later with fresh eyes.

Portrait Painting Progress

I have added a few more layers since my last post. I had to darken some of the shadows and darkened the eyes. The eyes and the mouth have been two of my biggest challenges. With each new layer added I feel it is beginning to take shape. There are several more layers I want to add before it becomes complete. I will post more as I progress.

The Layering Continues

Each and every layer creates more depth but it is also creating a change in my subjects face. Not so sure I am liking the transformation.

As the last layer dried it looked a little chalky. I went in and added more warmth and deepened my shadows with a cooler tone.

There is much I have to learn before my painting can be considered "realism"... practice, practice, practice!

I will continue posting my transitions as I complete them.

Hair

Creating the Hair and Highlights

I began by mixing burnt sienna, yellow ochre, and ultramarine blue to build the base tones of the hair. From there, I layered in the highlights, letting lighter strokes sit softly over the darker foundation.

Hair takes practice—and then more practice—because its believability comes from multiple layers, even in a piece that isn’t fully realistic. This painting isn’t meant to look photographic, but I still wanted the hair to lean toward realism. To push it in that direction, I etched fine strands around the hairline, adding just enough detail to suggest texture and movement while keeping the overall style painterly.

Color block sections 

Add lights for dimension 

Eyes

Eyes are the soul of a painting. Trying to capture your subject's true essence is no small feat!

When I first began my painting the subject's eyes followed me from right to left. Since that time something happened and I lost it.

One of the things I do along my painting journey is photograph each step. It allows me to go back and see what I liked and disliked. Unfortunately, painting does not allow me to select the undo tab and go back. But having past photos of my work can offer insite of what I may have done wrong so that I can fix my "happy mistake"!

Oily Face

Once the acrylic dries (which only takes minutes instead of days or weeks) I begin using oil. I may not appreciate the length of time oil dries, however, I do appreciate the smoothness of this medium.

As you can see oil creates a smoother finish on the subject's face. The next several stages will be adding one layer at a time. Hopefully, with each layer the portrait will become more realistic. At least that is my goal.

One of the things I anticipate along the way our little mistakes and as Bob Ross states, They are "Happy Mistakes"! Got to love that guy, God rest his soul!

First layer of oil

The Process

This time, I decided to try something a little different. I’d been reading that acrylics can work beautifully for an underpainting beneath oil paints, so I figured—why not? In my last oil portrait, I used oils from start to finish, including the underpainting, and it felt like I was waiting ages for each layer to dry. And since patience has never been my strongest virtue, I was ready for a better way.

Acrylic paints were used to begin the under painting process

And continued with acrylic until
everything was covered 

Oil Painting Of My Daughter

My daughter will be graduating next summer, and one of the things she asked for was a portrait painting—something personal and handmade to mark this milestone.

I started by taking several photos of her near our pond. A full-frontal shot didn’t feel right for the portrait I had in mind. Instead, a slight profile caught my eye. That angle offered richer shadows and a more interesting play of light—perfect for bringing depth into the painting.

Before transferring anything to canvas, I brought the photo into Photoshop. I enhanced the colors in her hair and skin and made her eyes a little more vivid, giving the reference image the life I plan to capture in paint.

To make sure the proportions stayed accurate—and to save a lot of time—I printed the reference as four separate 8×10 images and pieced them together like a puzzle. My canvas for this project is 16×20, so this method helped me scale everything precisely.

I love to sketch, but I’m not as accurate as I’d like to be. Some artists consider tracing or projecting an image “cheating,” but I see it as a practical tool. In the future, I’d love to invest in a projector so I don’t have to keep cutting, taping, and assembling large photo grids just to get the right image. Efficiency lets me put more energy into the actual painting—where the real magic happens.

Sketch on a 16x20 canvas 

Four 8x10 photos stitched 

              

Window Cats

 Beginning the under painting

14X18 "Window Cats"

In memory of Miss Tabby and Miss Molly

This painting was given to my mother-in-law. She had rescued this Tortishell cat from an abandon building. She tried to rescue the sister of the Tortishell, Miss Tabby but unforturnately her nine lives ran out to soon!  The window and greenery was inspired by another painting I had seen. I thought what better way to capture a cats lazy day on a sunny window ledge!

Sky Scapes and Light Houses

I have been working on painting various sky scapes and lighthouses.

5x7 "Light Dusk"

Sky Scapes and Light Houses Continued

5x7 "Light Willow

5x7 "Light Moon"

5x7 "Light Rocks"

After painting these four sky scapes and light houses I discovered I was ready to go back to a large canvas. I had thought the detailing would be easier since it was smaller in scale but actually it was much more difficult than I had expected. Although, it was another great learning experiance! On to my next project...

Finished Painting Of "Passage Into Palisade"



"Passage Into Palisade"
Completed Painting
18x24
Acrylic

A couple years ago my family and I went to explore the beautiful Mississippi Palisade Park. I had taken several pictures while there of my family and some landscape photos. But this particular picture of my daughter using her cell phone to snap a quick picture was interesting to me. At the time, my daughter did not want her photo taken but I did anyway...one of her back! Once home and downloaded to my computer I thought the picture on the back of her t-shirt was just as interesting as the background of the surrounding park. It inspired me to want to paint a picture within a picture.

Enhancing Folds And Lettering

Enhancing folds and lettering

At this stage, I wanted to give more depth to the t-shirt. First, I enhanced the folds by using a lighter shade of blue gray for the darkest part of the folds. Then I mixed various shades of white mixed with gray for the lightest part of the folds. Once the folds were complete I focused on the lettering. I mixed a combination of orange, burnt umber, Payne's gray, and white until I was satisfied with the end result. When mixing the paint for the folds and lettering I watered down the acyclic paint until the consistency was similar to watercolor. I applied several thin applications until the lettering began to take shape and color was where I wanted it to be.

Flat To Flare



Continue adding more layers

When working with an image that is flat and boring it is time to create more flare. Creating shadows and folds can bring life to a flat subject. I continued adding more layers to hair and t-shirt to give more depth and dimension.


Adding darker values to the background



Continue adding darker layers

As I continued adding darker values I noticed my painting was not looking like I wanted. The more color I used in the background for the distant trees became to close and crisp. So I decided to do a wash of white mixed with water and painted over the background. At first, I was not sure this would work but after the painting dried it appeared further away and that is what I wanted. However, it was not exactly what I wanted, so I continued experimenting with different colored washes until I found one that worked. However, I believe it was culmination of colors that made the end result.

Add Dark Values To Create Depth



Add dark value of color to enhance depth

I continued adding thin dark paint to the lower part of the painting. I also created notches and grain in the wood railing giving it a more realistic look.


Continue Adding Layers Of Thin Paint

Add several thin layers

I continue blocking in colors with acrylic paint. At this stage my paint is watered down much like the consistency of Watercolor paint. As I continue to add layers the paint becomes heavier but not as thick as the paint right of the tube.

Opposite Colors Attract Interest



The beginning of

"Passage Into Palisades"

Once the outline is complete the next step is deciding what colors to use. I like to chose colors opposite on the color wheel that reflect or enhance highlights. For instance, the hair I used a soft orange which creates depth when layering dark colors over the orange. With most my paintings I try several color variations until I am satisfied with the end result.


The Beginning Of "Passage Into Palisades"

Image outline

(Fig. 2)

I feel the most difficult part of beginning a project is choosing the right image. For me, I need to look at picture or an inspirational piece as a starting point. For this particular project, I chose a photo I took of my daughter while we were out hiking in the beautiful Mississippi Palisade Park. 

For a quick start I enlarged the original 8x10 photo into four 8x10 sections (Fig. 2) and placed together to form one large photo. Next, I used tracing paper to trace the outline of the image onto a 24x18 canvas. This allowed me to place the image proportionately without much fuss, plus it was quick and easy. Some call this cheating, I call it being efficient. 

Photos To Inspire My Next Painting

Landscape

Landscape Portrait

What's Next...

I'm contemplating my next painting subject, and a self-portrait seems intriguing, particularly in the style reminiscent of Andy Warhol's iconic works. It would certainly present a unique challenge. Alternatively, I'm considering a portrait, a landscape, or even diving into the realm of abstract art.

Deciding what to paint is always the toughest part of the process for me. Without external pressure or demand for my artwork, I'm driven by the desire to continuously evolve and explore new techniques. Each painting serves as a practice ground, pushing the boundaries of my creativity and honing my skills.

Castle and Dragons (Completed)



"Castle and Dragons"



Castle and Dragons

Typically, I enjoy painting landscape or scenic places I have visited. My subject for this painting was inspired from another artist. I would give credit to this artist if I knew the name on the picture I found on the Internet.

Castle and Dragons was created for my son who enjoys these magnificent fictional creatures. I wanted to use as few colors as possible to invoke a mystical theme. Most my other paintings I use many colors and variation of hues. The picture I used as my inspiration was done mostly in different tones of grey with hints of blue, black or charcoal. For my painting I used purple,ultramarine blue, process cyan, cobalt teal, paynes grey, raw umber, burnt sienna, orange, yellow ochre, black and white. I was happy with my finished piece considering this was my first attempt with a more monochromatic feel. I would have liked my painting better if it looked more realistic! I keep telling myself the more practice painting different subjects I will eventually find my "it" factor...until then practice, practice, practice and learning patience along my painting journey.

Sketch and mask

Used deep and light purple
for the under painting before
adding different hues of grey and blue.

Remove masking paint

Grey and blue blended too
much with the sky.

Used orange for an under painting.
Liked the affect
but it was not what I wanted.
But interesting!

Then I used a mix of Raw Umber

and Colbalt Teal

Gifting!

Instead of shopping in busy malls or waiting in long lines to purchase a gift. Why not create a ONE!



Saw Blade had been previously painted by another artist, however, the pasture was missing something.
So my friend wanted me to add the horses to give more interest to the foreground.



I used painters glue and iridescent paint to create more interest and texture.



Added a personalized touch!



Abstract "Mindless Spiral"

After my last painting,"Autumn Bliss", I needed to change things up! I wanted to clear my thoughts of the previous painting and take on a project that I call mindless, with very little thought or prep. In this painting, I began with flowers which quickly turned into spirals because I did not like the shape of the blooms. So I swirled the colors around and liked what was happening to the painting. Painting was done in oils.

After I swirled the colors together I was not sure where to go next with this painting. I just kept adding deeper reds, oranges, and continued playing with different colors.

"Mindless Spiral"

 
 
 
 
 
 
Finished! What I love about this painting is that it can be placed on the wall in any direction!