Step by Step

[pehiatt]

Over the next few days I will post the step by step progress of a paint from sketch to finished work. New shipment of gesso panels expected tomorrow so I will begin Tuesday.

This is definitely an experiment and everyone should know I always fear disaster. Some paintings end soon after they begin. I hope you enjoy. This might be fun.

[Singular]

Oh this is going to be great. I can't wait to see more.

[pehiatt]

First I did some research and found a suitable illuminated book page. Next I adjusted it for slant and perspective. Then I modified the sketch by blending the two together. This will serve as a reference as I work the book and paper images. Note pasted color copy of illuminated page on top of easel.

The Object is to get the image and keep it accurate....Anything goes. I can draw people but an illuminated book page.. I need the help. Computers have some use and I am not above using them if it doesn't compromise my originality.

I will refine the curves and lines of the text when I paint them in.

This is like going to confession.

[johnwalkeasy]

I,ll keep an eye on this one. Perhaps I can pick up a pointer or two.

[xxbreezy]

Well I think you are off to a great start!!! Love the idea also!!!

[Erika Takacs]

The book page looks good, and the subject matter is very warm and appealing. The painting of the page looks challenging. Good luck, I have a feeling this one will be a very beautiful painting.

[pehiatt]

Shipment of supplies just arrived, a day late of course. So we begin.

Everyone has their own methods and these are mine. There is no one way.

I have a very large easel in a very small studio but I can work on canvases up to 4 by 6 feet. The small gazebo is eight sided with each side having a window. There is lots of light; sometimes too much.

I built the easel several years ago and it has functioned well. Because I work on small panels I have added adjustable cross members with clips. This facilitates snapping out one painting and setting it aside while I work on another.

I use pre-primed panels up to 16 X 20 and reserve canvas only for larger work.

Tools

Large assortment of
ushes
Knives
Drawing pencils
No 2 pencils
Sharpener
Kneaded eraser
Drafting tools – French curve and triangle
Heater
Laptop computer
Large format 13 X 19 printer
Cigarette rolling machine
Small high intensity Work light
Radio tuned to NPR classical station

Supplies

Carbon paper
Masking tape
Turpentine
Lacquer thinner
Linseed oil
Cobalt Dryer
Painting medium – I use a lot of Weber rapid dry. Good for both glazing and thick work dries overnight. Can be retarded to keep it wet with linseed oil.
Oil paint – I use several
ands, some for color some for price. Georgian is a student grade but yields good mixing and stays
ight.
Cigarette tobacco and rolling papers
Miscellaneous gunk and stuff
Paper towels - essential

[pehiatt]

I made a 16 X 20 print of the drawing and will trace it onto the panel using carbon paper.

This is the same method used by many of the old master only the smeared lamp black on the back of the drawing.. Others used a pin or pouncing wheel and poked holes along the lines on the paper and pounced with charcoal dust. Some cut out the parts and traced around them.

Enlarging or shrinking work can be done by hand using two grids, one on the drawing and one on the painting. Fill in each square.

The computer and printer are only tools. Same process just slightly more mechanized

Using a printout saves the original drawing. I also can be sized for composition and placement.

This step is to place the elements of the paint. There is little refined drawing. Generally goes pretty fast.

Ask questions and make comments. This is a one time experiment. One thing is that it has made me think about what I do.

[pehiatt]

What ever works. I always start fresh. keeps the colors clean.

Not much to see on the painting. Lines are vague and light. Defined some furniture and ink pots.

[Ted]

Great start, look forward to seeing this take its shape.

[pehiatt]

Work quickly and start to establish light and dark for large areas. Constantly reinforce bench marks. Build some under tones. The object is to eliminate all of the white panel. If I need white later I can under paint.

Take a
eak… Roll a cigarette

[pehiatt]

It becomes a game of push and pull. Contrast Forward, Light Forward, Dark and sameness go back.

Started roughing in some of the smaller details.

The painting has taken over from the drawing and is guiding its own destiny.

Everything very wet... needs to dry.

!0 hours in and time to go to bed. See you again tomorrow.

[Erika Takacs]

It's wonderful to see how they come alive. I love to see the interaction of the hands.

[pehiatt]

Started some glazing.
Continued to separate lights and darks.
Began under painting page text.

Lost some of the drawing but will
ing it back. Its not uncommon for it to come and go

This is the part where patience and hard work kick in.

[Carmelo]

As I have come tardy to this page, I can only say that I am impressed with your step-by-step showing of a process to create a painting. Been almost two decades since I last worked with oils, however, this may be a catalyst for me to consider a revisit. I love the master and pupil theme as well. Carry on!

[pehiatt]

Continue to build visual interest

The roughed in Candle and holder (Right) are refined with burnt umber (Center) to reinforce the drawing. Then is is further developed with a combination of a light glaze and straight painting. The glazing adds luminosity to the wax. Candles glow within. The holder has a number of shadows and highlights. The stem is in a shadow created by the candle base and supporting lip. Dripping wax is added on top. It is not as transparent.

This will all be allowed to dry and refined again later with a number of light glazes to ad realism and blend this element with the rest of the painting.

Use the same techniques to develop other details. An artist has a vocabulary of neat tricks to give the illusion of reality or unreality. Like under painting and glazing the top center of the candle to give it that magic glow. Added a little smoke as well.

More tricks to come. Meanwhile back to work. I was tired yesterday and only put in about three hours. Developed some large areas. Mans shoulder and booys back.

Right now time to roll a cigarette and take stock of where I am in the work and plan the next move. Look and study. Its amazing what you sometimes see.

[Erika Takacs]

Cool detail of the candle holder progress. Why the disproportionate ear and skull? I'm intrigued by the teacher. I know that very intelligent people sometimes have oversized ears way over their
ow lines, but his are even larger, almost not human. Any reason for that?

[pehiatt]

Drawing too many satyrs I suppose. Brought the ear down and moved the lower edge of the cap down. All of my figures even those drawn from models have a peculiar look probably since I let the forms take their own shape. Oil is very forgiving and most changes are easy, to a degree.

[xxbreezy]

Truly amazing watching this piece unfold!!! I love the step-by-step you displayed on the candle and holder. You are doing an outstanding job and can't wait to see the finished product.

[Erika Takacs]

That peculiar style is what makes your art so unique and recognizable. Now I feel sorry I mentioned the ears, because I liked them, just wondered if they meant anything.