• MIXING FLESH TONES - ROUND NINEPosted on September 28, 2016

    MIXING FLESH TONES - ROUND NINE

    MY PERSONAL COLOR MIXING EXERCISE - ROUND NINE - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. Here is delicate Amy.  She is painted with CADMIUM RED, RAW SIENNA and CERULEAN BLUE along with WHITE and a little BLACK. The raw paint became the abstract on the right.  
    For me, the purpose of this little exercise is to show how flesh tones can be created out of any number of limited palettes.  Really anything goes. I am in Chicago this week - visited EXPO Chicago and also Loyola University Art Gallery.  Inspiration everywhere I turn!

  • MIXING FLESH TONES - ROUND EIGHTPosted on September 21, 2016

    MIXING FLESH TONES - ROUND EIGHT

    MY PERSONAL COLOR MIXING EXERCISE - ROUND EIGHT - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. This handsome young man, Malcolm, let me snap his picture.  He is painted with VENETIAN RED, YELLOW OCHRE and SAP GREEN along with WHITE and a little BLACK. The raw paint became the abstract on the right.  
    For me, the purpose of this little exercise is to show how flesh tones can be created out of any number of limited palettes. Artist friends have been suggesting some of the "classic" palettes and I'll be posting some samples of those too. Thanks for all your feedback!

  • MIXING FLESH TONES - ROUND SEVENPosted on September 14, 2016

    MIXING FLESH TONES - ROUND SEVEN

    MY PERSONAL COLOR MIXING EXERCISE - ROUND SEVEN - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. A friend handed me this week's challenge, a photo of Kyra, a girl from India standing in strong light and shade. She is painted with RAW UMBER, RAW SIENNA and CADMIUM RED along with WHITE and a little BLACK. The raw paint became the abstract on the right.  

  • 'DISCARDED ANCESTORS' SHOWING AT CANISIUS COLLEGEPosted on September 7, 2016

    'DISCARDED ANCESTORS' SHOWING AT CANISIUS COLLEGE

    "DISCARDED ANCESTORS' is a series of collages based on photos I discovered thrown out in front of a demolished house on Buffalo's East Side. I combined them with my present time photographs and framed them in recycled wood. The exhibition is in the Peter A. and Mary Lou Vogt Gallery at Bouwhuis Library at Canisius College. An opening reception with be held on Friday, September 9, 2016 from 5:00 to 7:00 pm.


    WHY I DO THIS WORK
    After the birth of her third child in 1922, my grandmother, Katherine, fell into a deep postpartum depression. Her husband, Casper, unable to cope with her illness, committed her to the Foxboro Asylum in Massachusetts for the rest of her life.  This was the era before the development of psychotropic drugs.  Difficult family members could be confined in “Kirkbrand” style asylums and never seen again. Most of these places, located all over the Northeastern United States, are now closed and abandoned. 

    My sad family history rippled out in many destructive ways over the next generations. I only discovered our ‘dark, shameful’ secret by accident when I was 22 and Katherine had died.  Suddenly, so much of our uncomfortable family atmosphere made sense to me.

    Looking back, I realize why I am attracted to the discarded parts of society, whether it is a collection of old photos, an abandoned house or factory, a group of marginalized people or trash thrown out into our waterways. I see art as a way to shed light in neglected corners. 

  • MIXING FLESH TONES - ROUND SIXPosted on August 31, 2016

    MIXING FLESH TONES - ROUND SIX

    My personal color mixing exercise - sketching a little 9" x 11" oil portrait once a week with a different triad of paints. This week's model is Anna, a twelve-year-old girl from Albion, New York who loves to dress in camo. She is painted in CADMIUM RED, SAP GREEN and YELLOW OCHRE with WHITE. The raw paints became the abstract on the right. Anna's pale skin was a challenge since the changes in tone were so subtle. Unlike the deep grooves and wrinkles in an older person, a child's face has little contrast for a painter to hang on to. 

  • MIXING FLESH TONES - ALREADY AT ROUND FIVE!Posted on August 24, 2016

    MIXING FLESH TONES - ALREADY AT ROUND FIVE!

    MY PERSONAL COLOR MIXING EXERCISE - ROUND FIVE - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. This week's model is Honey, the beautiful daughter of a recent immigrant to Buffalo. She is painted with MAGENTA, RAW SIENNA and COBALT BLUE along with WHITE and a little BLACK. The raw paint became the abstract on the right.  

  • MIXING FLESH TONES - ROUND FOURPosted on August 17, 2016

    MIXING FLESH TONES - ROUND FOUR

    My personal color mixing exercise - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. This week's model is little Ras from Rochester painted with BURNT SIENNA, RAW SIENNA and SAP GREEN along with WHITE. The leftover paint became the abstract on the right. 
    I spotted the graffiti near an apartment I used to rent in Rochester.  

  • MIXING FLESH TONES - ROUND THREEPosted on August 9, 2016

    MIXING FLESH TONES - ROUND THREE

    Here's Max!  I met Max when I illustrated "Max Meets the Mayor".  He is painted from ULTRAMARINE BLUE, ALIZARIN CRIMSON, RAW SIENNA and WHITE. For Max's graffiti background I had fun painting three Pokemon figures, Wartortle, Squirle and Blastoise. The leftover paint became the abstract on the right.

  • MIXING FLESH TONES, ROUND TWOPosted on August 3, 2016

    MIXING FLESH TONES, ROUND TWO

    My personal color mixing exercise - sketching a little 9" x 11" oil portrait once a week with a different triad of colors. This week's model is grandson, Emmett, painted in NAPLES YELLOW, BURNT SIENNA and PERMANENT GREEN along with WHITE. Then the leftovers become an abstract on the right. 

  • CHALLENGING COLORPosted on July 25, 2016

    CHALLENGING COLOR

    Every color pigment has its own personality and some are harder to get along with than others. In fact, they seem to bully the other paints and take over my pallette.

    I was relying too much on my old friend, BURNT SIENNA, to mix flesh tones and thought I should branch out. Here's a 9"x12" oil sketch of young artist, Rowan, painted with the triad of ULTRAMARINE, ALIZARIN CRIMSON, RAW SIENNA along with WHITE.  The leftover paint turned into a mini-abstract. 

    Did I tame that Alizarin? Do you have colors that you have trouble dealing with? I'd love to know.