Profile. 05/13/2012
15"x15" inches,pencil and charcoal heightened w/white on toned paper,2012 Add Comment Christine. 04/04/2012
 Christine, oil on panel, 13" x 19" inches, 2012. A drawing. 03/28/2012
 An Allegory 03/13/2012
 (Allegorical figure), brown pencil heightened with chalk and white gouache on buff paper, 20"x26", 2012  Detail, "Allegorical Figure", brown pencil heightened with chalk and white gouache on buff paper, 20"x26", 2012 "Matrona" 03/12/2012
 "Matrona"(a Latin Matron), carbon and sanguine on Egyptian papyrus, 8"x 10" inches, 2012 Sketches II. 02/27/2012
 The dark brown pencil imparts a sober warmth to this one. Spontaneously inspired with the model,typically these kind of sketches will be on white or light toned paper, 11"x14/17" up to 12"x24" inches. I am considering posting these on more regular basis, since they are part of my normal studio practice,(?). "Gallia". 02/06/2012
 "Gallia", pastel and acrylic on grey toned paper,11"X14", 2012. Sketches. 01/31/2012
  Spontaneously drawn from life,typically these kind of sketches will be on white or light toned paper, 11"x14/17" up to 12"x24" inches. Voluptuary. 01/21/2012
 "Voluptuary", oil on linen, 22"x28" inches (image area 13"x28"),2012  Isabel. 01/10/2012
Isabel, oil on canvas, 20" x 24" inches,2012    Close up under some raking light showing texture and a bit of glare.  Detail of her left side showing multiple approaches towards rendering the hair. Underpainting, scumble, scratching out, fine detail drawing, wash drawing...its all in there somewhere.The complexity of such a simple thing as hair in a particular instance of vision may need every capability-- in a very small space, of what good oil paint can accomplish-- or rather what the artist can accomplish with a singular vision, good tools and materials.  Buildup of the lights in the fabric. These areas of lightest values should consist of the thickest layers,relative to the entire piece. regardless of the detail and hours put into areas such as the face, the dimensionality of the paint itself in the lights and darks is one of the great wonders of working on a real painting.Yet the buildup of the lights may not be due solely to pigment and binder, but may benefit from the appropriate medium and non-pigment constituents such as egg, calcite, silica, and other inert materials with a proven history in oil painting. Parts of the process... After the imprimatura is well and dry, the initial chalk contour drawing and grid are done. A general placement and proportion are sought; not all the nuance of a well developed pencil or inky contour (thats for the next stage) , nor the sketchy lay-in of so many others.  For the initial dark wash drawing/ebauche lay-in, transparent brown oxide was drained of excess oil and thinned with enough spike lavender to use in an inky fashion. Using double rectified turp, OMS, rosemary or lavender oil will all make the paint thin enough to use, but each imparts a different working consistency and evaporation rate to the paint. This is discernible because of the thin transparent colour. Because of this, a crisp natural bristle bright brush is used for most of the wash drawing, as well as a quality natural bristle liner/rigger brush for the finer lines of the contorno.  Initial dark wash drawing/ebauche. The corner of the ground is left deliberately white from the imprimatura so as to better judge the values of the underpainting even at this stage.  Close up of the face. The transfer grid and white chalk is still somewhat visible. This can just be left to be covered or incorporated by the paint layers or removed before any retouch varnish is applied, by a quick wipe with a damp linen rag.  First painting over dried ebauche. The more simple background was mostly already finished at this stage. Only around the hair might fresh paint in identical colours be used at any of the later stages of painting. | 
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