Your stuff is awesome dude! The finished paintings like the baby and the one with the superman tattoo are amazing. Keep it up
Hey Kevin I keep leaving comments on your blog but they never seem to show up, I'm not sure why. Anyway I really enjoyed your paintings from your time with Robert Liberace and it's great that you get to study with such highly esteemed painters. I have to say that I think you are well on your way to being a master yourself. These gestures are lovely, my favourite's are top row, last one on the right and the lady in the sun hat. As always so inspiring for the rest of us.
I need to make them bite-sized!
1. Emmet, 12.5 years old oil on birch panel about 4+ hours
2. etta oil sketch
3. etta process - not finished at the end but here's where she ended.. oil on gesso board
4. Casey on canvas board - pleases with this!
5. Greg about 2 hours - a very quick sketch.. some good things some over -done..
6. 5 min gestures of david
7. colleen about 1.5 hours charcoal on newsprint - will work to reduce the darks on next longer drawings
8. about 1 hour longer figure drawing ( of the short ones!)
9. 5 min gestures and 10.
11. 1 minute doodles of figures where there are no clear lights.. so just contours..
much more what she looks like.. "Nikki" about 3.5 hours on 8 x 10" canvas board.
What a joy your updates are to look at Kevin, I do enjoy them so much. I'm starting to think about having ago at oil painting so I was wondering what you use and how you painted your oil sketch of etta. There's something so appealing at this stage of a portrait that it is something I would like to do myself.
Excellent studies! Maybe block in the surrounding canvas before working too much detail into the faces themselves. I've found this makes controlling the overall tones easier.
beautiful lively charming work, i am a massive fan, subbed!
sb most art copied to page 1
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amazing studies. keep on going
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i love your work thank you for posting your stuff
I'm wondering: could you possibly post a step by step? I'm very interested in your colourwork - something I desperately want to work on.
And could you possibly talk a little about your process in learning? Did you practice drawing to perfection before venturing into paint or are there any other tips?
wow! Some really fantastic stuff in here.
Your pencils are great but your oil paintings really stand out to me... Makes me want to try my hand at painting
i second spawns request ... pretty please
Flawless shading technique in your sketches!
Last edited by twell; July 16th, 2011 at 02:27 PM.
Always a pleasure. Consistently great.
Hi Kevin I'm so lost for words when I browsed through your sketchbook it's phenomenal.
I love all your studies of your paintings and also your figure studies, it some how makes me wanna draw figures in an easier way (if I can learn to draw within 3 mins or less).
Please keep drawing man your works are very inspiring.
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Learning Process - I WISH I could say I practiced drawing to perfection before I started painting, as it was a goal. But, alas, I am still working very hard on my drawing as it remains hugely challenging for me. I have been painting about 3 years now and drawing from life about 4 years. So I waited a year to start in color but I never stopped working on my drawing! Tips ? Learn and develop a simple, repeatable process for drawing people/heads/figures! Loomis is a good place to start and/or the Reilly method. With painting, I more and more do some quick and careful measures ( 1/2's for height and width and other related measures as needed) and look for getting the drawing as "human" as possible before any color is applied! I have studied with excellent teachers ( Tony Ryder, Camie DAvis, Glen Orbik, Robert Liberace, Travis Schlaht, Ted Minoff, Michael Grimaldi, Henry Yan, Zhaoming Wu among them) and they ALL stress drawing drawing drawing!
To all of you that have commented - THANK YOU ! I am humbled by the good thoughts on CA for sure and it always pushed me forward!
@Flying Dutchman - I often work on a simple gray/neutral toned surface that I like.. it might not work for you ( it doesn't always work for me).. I try to keep it quite simple in quicker sketches and work mostly on the values w/in the head or figure. I will work into the BG if I think it's needed to express edges or shifts in value more than the base tone.
Below are two process images - beginning with a basic umber sketch on toned ground ( gesso board or small linen panels in these below). Shadows are mapped in two dimensions in a single value/tone. Only later might I adjust the shadow area and I do this hesitatingly as I want what is in the light to be the interest! The grisaille below the bearded "steampunk man" painting was done on the first day of my workshops at GCA in NYC. This was a warm-up to color painting on the next day ( so only worry about drawing, and value!). The final painting was done under a much warmer (3500 degrees kelvin) light vs all the above done under a balanced white sun-style ( cool, north) light system.
Thank you for looking all and your comments and questions are always appreciated!
Thanks for the great post Kevin can I ask what painting medium you use? Seems to be a lot of conflicting info about this and the use of turpentine. Some say to use if for the initial drawing stage but not in your actual painting medium as it will break down the painting over time. As you've studied with such great teachers I would be really interested to have your take on it.
Hi Marian ! Thank you -and - in all of the above recent-post- paintings I use a small small bit of Gamsol (a Gamblin brand OMS) for the drawing stage - but all of those paintings above ( except the last one were done with straight paint with a minor tap or two - on a small brush - of walnut oil mixed with a small percentage of gamsol)). I saw my teacher doing this and thought - why not - his paintings rock! His theory is most paints have a lot of medium already so why add more - especially for quicker works where it's nice to see the paint there.
On longer paintings, I will transfer my drawing to canvas or panel and then paint thinly with turps for the wash-in or ebouche. For the final layer I will add a small bit of medium ( see above mix) but only when I really think it is needed. I'm experimenting with walnut oil and about 1/4 of gamsol. Linseed can yellow paintings over time so.. trying to avoid that!
OK! and - I agree that you don't want to "over-turp" your paint films as they will break down ( not bind) and that is not good! for the initial sketch - it is thin and fast and I want to it dry a bit so turps is my friend for that!