8″ x 10″
oil on panel
This is a painting that I started of my niece, Azalea. Right now it is in the underpainting stage, which serves as a nice base to plan out the light and dark areas, and it will also give the finished painting a warm glow.
I like the far-off look in her eyes, which seems precocious for someone so young.
10″ x 8″
graphite on paper
There was once a time I avoided drawing from plaster casts as if it were some type of punishment, like standing in the corner when I was a kid. But after taking classes for a month at GCA, where the students use the humble pencil to create stunning cast and figure drawings, I’ve realized how useful, relaxing, and satisfying this type of drawing can be. It is a great practice to refine one’s accuracy in drawing, with rendering light on form, and as a result strengthens one’s paintings.
12″ x 9″
graphite on paper
Last night I had the opportunity to attend the weekly uninstructed evening workshop at 3 Kicks Studio in Pasadena and draw the lovely model, Malo.
10" x 8" graphite on paper
Here is a self-portrait that I’ve been working on the last few days since returning to Los Angeles. Comparing this drawing to the self-portrait from a month ago, I can really see my progress. Although I am quite happy with it, I still see much room for improvement.
Unfinished Cast Drawing, 14" x 11", graphite on paper, 8 hrs.
begin shading
flattening the shadows
block-in
'Richard' 17" x 11", graphite on paper, 8 hour drawing
flattening the shadows
block-in drawing
Here is a progression of my sculpture of our model, Andre Antoine, in reverse chronological order. This was a 21 hour sculpture in Mason Sullivan’s evening sculpture class and is half life size.
Finished sculpture, 21 hours
18 hours
15 hours
12 hours
9 hours
6 hours
3 hours
1.) Beginning with positioning the wire armature, we added the egg and box shape for the rib cage and pelvis, paying special attention to the tilt and gesture of the pose. A base was inserted under the feet.
2.) Using a primarily sight-size approach to sculpting, we added pieces of clay, using the contours of the model for reference. Our sculptures were placed close to the the model, and we would stand back often to measure tilts and placement. We would turn the model every 10 minutes a quarter turn, and as we progressed, every 20 minutes.
3.) Anatomical details were refined as well as surface texture.
*A book highly recommended by Mason on figurative sculpture is Edouard Lanteri’s Modeling and Sculpting the Human Figure.
I’m in New York this month taking classes at the Grand Central Academy. During the commute from Brooklyn, I enjoy sketching fellow passengers. Here are a few.
ink on paper
Here are some animal sketches that were done in Alaska.
ink and waterbrush on paper
We’ve just returned from a wonderful trip to Alaska. We flew into Anchorage, rented a car and visited the Matanuska Valley, Denali National Park, Fairbanks (and drove up to the Dalton Hwy, near the Arctic Circle), down the stunning Richardson Hwy to Valdez, over to Seward, to Whittier, and back to Anchorage. It was a whirlwind of a trip where we put nearly 2,000 miles on the rental. The best parts were the hiking through the fall foliage and glaciers, as well as seeing abundant wildlife. Here are a few pictures.
Snow leopard looking bored at the Alaskan Zoo in Anchorage
Sweet baby musk ox at the Musk Ox Farm in Palmer
That's me looking into a crevasse at the Matanuska Glacier
Matanuska Glacier with two people (lower left)
Dall Sheep at Denali National Park
Mama Grizzly bear with two cubs at Denali National Park
Female moose at Denali National Park
A clear day with views of Mt. Whitney at Denali National Park
Breathtaking Worthington Glacier near Valdez
Valdez, who knew you were so beautiful?
Wicked-cool starfish at the Alaskan Sea Life Center in Seward
Alaskan fall colors
