Terri 4 - stages 1 and 2

While "Stockbridge 6" dries between glazes I have moved on to another figurative painting that again is a continuation of a series began in 1996 when I was using a lot of different golds in my work at that time. I found this kind of work was not viable in terms of the prices they sold for compared to the amount of time it took to paint them so I ceased doing them and moved on to pastel (and digital) and of course later on to oil. Terri is the name of the model that I used to use a lot in those days and while I continue to experiment with some decorative figurative paintings I am using some old reference photographs from those days. After first being "drawn" up in Ultramarine Violet thinned with Liquin I applied a coat of Deep Ochre (again thinned with Liquin) and dropped bronze powder onto the wet paint which spread out when blown and brushed to form a uniform warm gold background.

Stockbridge 6 - stage 4

Applied a glaze of Permanent Rose to the background and another layer (glaze) of "black" to the darks. After some more work on the face and body I called it a day to let it dry for the next glaze to be painted tomorrow. As glazing slows my painting process down I have decided to get on with another figurative painting so that I can move from one to the other thus avoiding wasting time waiting for a layer to dry. I am glazing the background as I want an intense colour which cannot be achieved any other way.

Stockbridge 6 - stage 3

I painted a wash of orange thinned with Liquin and tupentine on the background with a rag as well as some thinned "black" (a mix of Alizarin Crimson, Dioxazine Purple and Permanent Sap Green) into the bottom and edges of picture. A second layer of "black" was painted onto the figure and the underpainting for the arm and face is now finished. I want an incredible deep and varied red for the background to be the star of the picture, the figure will be more low-key and secondary.

Stockbridge 6 - stages 1 and 2

This is the next in a series of portraits first painted in the late 1990's (after a gap of 15 years!) of Sarah Stockbridge, the model and muse of the fashion designer Vivienne Westwood. The first 5 were painted in acrylics, gold and bronze powders but of course I have changed media a number of times since then. For this one, again on canvas, I want the figure set against an intensely coloured, subtly textured background, the lightest area being the shoulder although I don't want the figure too bright against the background as I am after quite a moody painting. It was first "drawn" up in Ultramarine Violet and then I blocked in the background in a mix of Venetian Red, Dioxazine Purple, Liquin and turpentine with a rag, spattering it with turpentine and wiping off afterwards for some texture. I then blocked in the darks with a mix of Dioxazine Purple and Permanent Sap Green and painted the skin with a thinned Ultramarine Violet, all with Liquin.
 

Chrysler Blues

Thought that I would paint one of my Urban America pictures on canvas and I must say I am finding it much easier to get the soft effect I often look for than when I was painting on MDF board. As with most of my pictures there is a step-by-step sequence of posts of this painting earlier on this blog. I wanted the Chrysler Building to be the focus of the picture with the busker playing the steel National guitar to be a secondary feature, the whole picture being painted in tones of blue to tie in with the title. 16" x 16" oil on canvas.

Chrysler Blues - stage 5

Finished buildings on the left of the street, the Chrysler Building and the underpainting for the building on the right. Still like painting on canvas but for some reason not working as quick as I should.....

Chrysler Blues - stage 4

Painted in the Chrysler Building, adjusted the sky and made a start on the buildings on the left. I am probably putting in too much detail in these buildings but I will wait until everything is finished in the background and then simplify where needed. I want to keep the picture full of colour and avoid any areas that are too grey by using slightly desaturated blues instead. The Chrysler Building is the focus of the painting so I will keep the figure silhouetted but without too much light behind it.