Saturday, August 30, 2008
The Official Invite to GuerillaLIVE #17!
Here's the the official invite to the launch event for Guerilla #17 in print and online. It'll take place September 12th in Ottawa at the Enriched Bread Artists Studios (951 Gladstone) I'm going to have about ten paintings displayed at the event, and an article in the magazine:)
Friday, August 29, 2008
"The Animator"
I just finished this painting for my solo show, which is going to be at Artguise this October (Oct3rd - 22nd) It's the second last one I have to get done for the show! It's of everybody's favorite animator,
Nick Cross:)
"The Animator," oil on linen, 12 x 10 inches
Nick Cross:)
"The Animator," oil on linen, 12 x 10 inches
Friday, August 22, 2008
"Majesty" in Canadian Brushstroke Magazine
I just found out that one of my landscape paintings, "Majesty," is on the short-list of finalists in Canadian Brushstroke Magazine and it will be featured in the next issue, when it is released in the second week of September!
They asked me to write a little bit about my inspiration for it, and here's what I wrote:
The light blasting through the clouds is what really caught my attention. The softness of the trees in the distance, and the movement of the water seemed to compliment it so well. I titled it Majesty because of the way that skies like this can hold us in awe of their magnificence.
Majesty 36 x 48 inches, acrylic on canvas
They asked me to write a little bit about my inspiration for it, and here's what I wrote:
The light blasting through the clouds is what really caught my attention. The softness of the trees in the distance, and the movement of the water seemed to compliment it so well. I titled it Majesty because of the way that skies like this can hold us in awe of their magnificence.
Majesty 36 x 48 inches, acrylic on canvas
Thursday, August 21, 2008
Ren and Stimpy Thumbnails and BG's
Hey guys, Just wanted to let y'all know that some of the thumbnails and backgrounds that I did for Ren and Stimpy Adult Party Cartoons, have just been posted online for the first time ever on Jason Anders' FULLE CIRCLE PRODUCTIONS
The 2 x3 inch thumbnails have notes beside them about what Johnny wanted me to change about them, and some of them even have notes about what reference I used for the colours. I was using the colours from magazine photos that we had selected with Johnny, and was trying out different styles, mediums, and application of paint. Some of them were done in cell paints, and some with inks and watercolour dyes and stuff:) Anywayyy, enjoy!
oh, and here's a taste of what he's got up there...
I started out in cell paint, without any idea of the technique I was going to go with...
...Then I tried doing the sky, distant buildings, streets and stuff in dyes, like Dr. Martin's water colour dyes, and the foreground stuff (sign, mailbox and telephone pole) in cell paints...
...which
is a technique I ended up going with for most of the show (combining dyes and cell paints in my BG's). I also designed the colours of Ren for certain scenes in the show, like this one (Chris Wallace did most of the character colour design though:)
See more on Jason Anders' FULLE CIRCLE PRODUCTIONS
The 2 x3 inch thumbnails have notes beside them about what Johnny wanted me to change about them, and some of them even have notes about what reference I used for the colours. I was using the colours from magazine photos that we had selected with Johnny, and was trying out different styles, mediums, and application of paint. Some of them were done in cell paints, and some with inks and watercolour dyes and stuff:) Anywayyy, enjoy!
oh, and here's a taste of what he's got up there...
I started out in cell paint, without any idea of the technique I was going to go with...
...Then I tried doing the sky, distant buildings, streets and stuff in dyes, like Dr. Martin's water colour dyes, and the foreground stuff (sign, mailbox and telephone pole) in cell paints...
...which
is a technique I ended up going with for most of the show (combining dyes and cell paints in my BG's). I also designed the colours of Ren for certain scenes in the show, like this one (Chris Wallace did most of the character colour design though:)See more on Jason Anders' FULLE CIRCLE PRODUCTIONS
Wednesday, August 20, 2008
Finalist in The Artist's Magazine 25th Annual Art Competition
My painting, “Woman in Dress” is a Finalist in The Artist's Magazine 25th Annual Art Competition. The finalists’ names will be published in the December 2008 issue of The Artist's Magazine, and thirteen finalists will be featured in The Artist's Magazine's 2009 Calendar.
Tuesday, August 19, 2008
Jeremy Lipking Workshop
Woowowowowowooww! I just got back from New York, where I had the pleasure of being teacher's assistant to Jeremy Lipking at the Grand Central Academy for his workshop there! The whole trip was just totally DREAAMMYYY! I love New York, and Jeremy and my pal, Amid Amidi, who was nice enough to let me stay at his place for the week and take me to some vegan-friendly restaurants! But yeah, the workshop was CRAZZYYY awesome!! I can't believe how much I learned, and watching Jeremy paint was just such a treat!!! We spent the whole first day watching him paint, then we did two paintings in the remaining four days, alongside him, so we could watch him paint whenever we wanted to! And the critiques that he gave were sooo helpful! Yeah, wow! THANK YOU JEREMY! Oh, and I even got a chance to go to the Met with Yuqi Wang, and check out the Turner exhibit there! Fun! Fun! Funnnnnnn!!!! That's it, I'm moving to New York as soon as I can!!!
Stephanie Profile, oil on panel, 8 x 7 inches
Stephanie, oil on panel, 12 x 9 inches
Stephanie Profile, oil on panel, 8 x 7 inches
Stephanie, oil on panel, 12 x 9 inches
Monday, August 4, 2008
Portrait Workshop Demo
Last week I taught a three day portrait painting workshop here in my studio. We all really enjoyed painting the wonderful model, Ella Rose. Here's the demo that I did during it:)
DAY 1
Block in with Burnt Umber
Using oily, viscous paint, thinned with linseed oil, I marked in the basic proportions first. Measuring the proportions to get the drawing accurate, I compared the width to the height of the head, and marked in thirds from the chin to the bottom of the nose, bottom of the nose to eyebrows, and eyebrows to forehead, noting that on her, the forehead measured a bit smaller then the first two. Then, I blocked in the big forms and shadows in Burnt Umber. By “drawing with the shadows” I was able to judge the placement of the features quickly and accurately just by judging the shapes and distances of the shadow patterns on her face.
DAY 2
Shadow Colour and Form Block In
First I put down a large area of skin colour in the light area of the face, covering over the drawing lines entirely that were in the light side of the face (but they still show through a bit, and I can wipe it with a rag to see them more if I want to). Then I blocked in the shadow side, and started to describe the larger, overall forms, like the egg shape of the head.
I blocked in a loose background, in a very direct fashion, with my 1” Langnickel brush, and tried not to mess with it. I wasn’t sure if I would leave it like this or work with it more later. I also started to block in the placement of the shirt. I really wanted to keep the painting of the shirt loose and direct, so I didn’t take it too far at this stage. I also blocked in the hair with my Langnickel brushes, mostly just establishing the overall shape of the hair, and making sure that it is not too bright on the right side (the shadow side) or at the edges (so that the hair will turn around the form).
DAY 3
Refinements
Initially, her face felt too wide to me, but it kept measuring correctly. When I started to darken the edges of both the light and shadow sides, making the sides of the jaw wrap around the form, her face started to feel like it was the right proportions. I continued to define the the face and hair, leaving the background and shirt alone for a while. I worked on the features some more, and the overall form of the face. I described the planes of the forehead, and softened the hairline. This day was focused on making things look like the actual textures, so making the hair, skin and cloth all feel like the textures that they are. At this stage I was thinning my paint a with a bit more linseed oil. I loosely blocked in the shirt, trying to keep in loose and direct, with some thick, impasto whites, to help it stand out from the background. I decided not to change the background much from here, since I liked the way it was working with her shirt. I only painted into it where it was necessary as I was painting the figure next to it, like in areas of the hair and shoulders.
DAY 1Block in with Burnt Umber
Using oily, viscous paint, thinned with linseed oil, I marked in the basic proportions first. Measuring the proportions to get the drawing accurate, I compared the width to the height of the head, and marked in thirds from the chin to the bottom of the nose, bottom of the nose to eyebrows, and eyebrows to forehead, noting that on her, the forehead measured a bit smaller then the first two. Then, I blocked in the big forms and shadows in Burnt Umber. By “drawing with the shadows” I was able to judge the placement of the features quickly and accurately just by judging the shapes and distances of the shadow patterns on her face.
DAY 2Shadow Colour and Form Block In
First I put down a large area of skin colour in the light area of the face, covering over the drawing lines entirely that were in the light side of the face (but they still show through a bit, and I can wipe it with a rag to see them more if I want to). Then I blocked in the shadow side, and started to describe the larger, overall forms, like the egg shape of the head.
I blocked in a loose background, in a very direct fashion, with my 1” Langnickel brush, and tried not to mess with it. I wasn’t sure if I would leave it like this or work with it more later. I also started to block in the placement of the shirt. I really wanted to keep the painting of the shirt loose and direct, so I didn’t take it too far at this stage. I also blocked in the hair with my Langnickel brushes, mostly just establishing the overall shape of the hair, and making sure that it is not too bright on the right side (the shadow side) or at the edges (so that the hair will turn around the form).
DAY 3Refinements
Initially, her face felt too wide to me, but it kept measuring correctly. When I started to darken the edges of both the light and shadow sides, making the sides of the jaw wrap around the form, her face started to feel like it was the right proportions. I continued to define the the face and hair, leaving the background and shirt alone for a while. I worked on the features some more, and the overall form of the face. I described the planes of the forehead, and softened the hairline. This day was focused on making things look like the actual textures, so making the hair, skin and cloth all feel like the textures that they are. At this stage I was thinning my paint a with a bit more linseed oil. I loosely blocked in the shirt, trying to keep in loose and direct, with some thick, impasto whites, to help it stand out from the background. I decided not to change the background much from here, since I liked the way it was working with her shirt. I only painted into it where it was necessary as I was painting the figure next to it, like in areas of the hair and shoulders.
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