progress photos

Behind the Scenes of Paper Snow (紙吹雪)

in , ,

Here are progress photos of Paper Snow (紙吹雪)! You can click on any of the thumbnails to see them larger in a sidescroll viewer. (Note that for in-process documentation, I rarely ensure a uniform lighting situation nor accurately color adjust the resulting photos like I do for the artwork photo.)

This painting was unusual for me in that I almost always start painting backgrounds before moving on to foregrounds and then going back and forth between the two until I think the piece is finished. With this painting however, I knew I didn’t want to obscure too much of the beautiful Uzurado dyed washi paper, so I started with the subject and then tested out just a cast shadow composition before adding a little ground and horizon.

Arts Itoya Painting Progress Pics!

in ,

I often get asked about my studio practice and processes, so I like to share some photos of how my artwork develops! Here are progress images from my Arts Itoya residency in Japan. Note that I do not take the time to precisely color adjust progress photos, and they are often taken in poor lighting conditions (late at night) and sometimes at angles. I also can forget to pause to take pictures when I’m in a rush!

First, here’s Duality:

Next, Pursuit (Ichi-go Ichi-e):

Then we have Lifelong Renter:

Shingling:

Messenger:

And finally, Fleeting:

Phoenix Athens Residency Artwork Progress Photos Set 1 of 2

in

I’m not always good about taking as many in-process photos as I could, but I do try to remember to do so! Here are the ones I took from my first half of Phoenix Athens residency artwork. Keep in mind the overall lighting, angles, flatness of papyrus, color accuracy, and so on are not that important to me when taking progress pictures; there are sometimes big jumps in the overall quality between them and the finished portfolio image, where I take great care with all of those factors. You can click into any of the images to see them larger and page through them.

Potential:

Syncretism:

The Seed:

Marginated:

Symbolism:

New Artwork: Earth Measurer

in ,

An in-progress photo showing my contour drawing which underpins the finished painting!

I made the acquaintance of this inchworm at Whiterock Conservancy, and began the contour drawing over a year ago. I picked it back up this winter break!

The title of the piece, Earth Measurer, is the English translation of the Ancient-Greek-derived “geometer.” Geometridae is the scientific name for the family of caterpillars (and moths) that make use of the distinctive method of locomotion that is not only described in the family’s scientific name but also in many of their common names: inchworm, spanworm, looper, and measuring worm.

After spending a lot of time really looking at inchworm anatomy and learning terminology (FYI, they have true legs and prolegs), I am again impressed with the variety and richness of animal forms in the world; there’s plenty of alien to explore right here. This past summer, while painting mosquitoes from LSU Vet Med’s epidemiology department, I was surprised by how hairy they are upon examination. Similarly, on this so-called hairless caterpillar, there’s still a fair amount of hair, called setae! I included it in the painting as well, though you’ve got to get close to the painting or zoom in quite a bit to see it.

This is Earth Measurer, acrylic on basswood panel, 6x12x1.5”, 2023.

LSU Vet Med Artist Residency Artwork 7 Process

in ,

Here are some in-progress photos of Seeing Double!

LSU Vet Med Artist Residency Artwork 6 Process

in ,

Here are process photos from Crèche Chic!

LSU Vet Med Artist Residency Artwork 5 Process

in ,

And here are process pictures of Singularity from start to finish!

LSU Vet Med Artist Residency Artwork 3 Process

in ,

Here are process photos from Lineage! I first used the debudding tool on a plain basswood panel and then painted over it with white acrylic to make the background. Then I drew out the goat contour, and before I even drew the eyes or snout I then went over the area she’d be painted with molding paste several times to fill in the depressions. I added the eyes and snout and a couple more layers of molding paste, and then began painting!

When I paint, the order of what I do can change depending on the textures involved; I always aim to paint further away first and then foreground last, but in this painting’s case I left the eyes and ears for last as I was painting the goat fur with synthetic bristle brushes. They gave the mark-making I was looking for, but their lack of precision meant that I wanted to get the fur mostly down before I addressed those more tightly detailed areas.

After I finished the painting, I varnished it, and then worked on the halter rope before gluing and clamping it onto the basswood panel.

LSU Vet Med Artist Residency Artwork 1 Process

in ,

I tend to be pretty bad about taking process photos, but I’ve been trying to be more intentional about it for this residency! Here are several images of Fortification in progress, culminating in the finished artwork.

Behind The Scenes of Velocity

in ,

Sometimes viewers want to know how a piece of artwork was made, and if there are any in-progress pictures to show the process. I often don’t take as many photos of that as I could; I’m more focused on the creation than pausing for documentation, and I also think that too many process photos can slightly tarnish the magic of the completed piece.

Nevertheless, here’s a photo of the drawing in development of Velocity which underpins the painting! Usually I can get away with mostly only doing a contour and then painting the rest freehand, but this piece is so reliant on form, pattern, and detail that I needed a stronger blueprint for this one.

La Maison Verte - Artwork 3 Progress Pics

in , , ,

I was much better about taking progress photos for this piece!  Here are some images documenting my process on Under the Bonnets.