October 29, 2008:
A work in progress: sp-21 part B. I paint lots of self-portraits, and they remain largely unfinished. Most of them begin as technical studies, or breaks from other subjects, and as such, taper off and end up over-painted with something else.This process of documenting a painting’s progress serves two purposes: First, simply to record the steps I take in painting. And second, to push me to finish one of these self-portrait studies.
Most of my paintings are carried out on an old, inexpensive, metal easel, which has a moveable lamp attached. I bought the easel, several years ago, from Dick Blick. It underwent a few modifications along the way but remains a dependable (though aging) little easel. One of my favorite things about this easel is the moveable lamp, which wonderfully illuminates the painting, while having the capacity to angle one way or another to keep the subject free of contaminating light.
This will be one of two paintings in which the easel lamp is present as the subject’s source of light (the other painting is much further along-- I will post it soon). I could probably make an argument for the lamp itself, as the subject of these paintings, but I will focus on painting them first.
I rarely do separate preparatory drawings for paintings. Although I acknowledge their function, I prefer to work with paint right away and develop a kind of relationship with the surface.
At this stage, I am still composing, arranging shapes, and making plans for value (which comes next). I also toned the panel with a mixture of Ivory Black and Burnt Sienna. At this point, I am using a bit of diluted Liquin (Original) as my medium (thinned out with Gamsol).
October 25, 2008:
A work in progress: sp-21 part a. One of the most difficult challenges I face when painting is developing a strategy for carrying out that painting, and adhering to it. That’s not to say a certain amount of spontaneity is unwelcome - I think it’s necessary - but painting a picture is much simpler when you approach it with a general idea about the order in which things should occur.
I am inclined to mention that although I’m writing about a sort of step-by-step ‘process’ for painting, I do not follow it exactly in every painting, nor do I approach each painting with the same ‘process’ in mind. Each painting is unique and for every new concept a specific strategy must be developed to compliment that painting. 
With the intention of documenting a painting, I will post a photograph after each sitting, and comment on the progression.
This painting, a 15x12" self portrait, begins with a sight-size (measured) drawing, carried out on the panel in a mixture of Ivory Black and Burnt Sienna.
Generally, I do not begin a painting with such a technical drawing (I usually start much more gestural, and measure to correct myself, not the other way around). But because this painting intends to be fairly technical, it only seemed appropriate.
(More soon...)
October 02, 2008:
Books are a terrific way to learn about art. Most of what I know about painting, I owe to books. The trouble with learning any subject from a book is that you must consider other perspectives. Everything is someone's opinion. Therefore, with every book you read which says this is so, remember that there is another which says it is not. Reading books this way is your only hope at developing an informed opinion.
When I started painting, in 2004, I was introduced to the overwhelming selection of 'how to paint' books. And I have found some to be dramatically more valuable than others. I intend to revisit a variety of art-books (from technical, to theoretical) and catalog my opinions.
I do not present this as a list of books I endorse, instead I offer a selection of books on which I feel compelled to comment. This list will be continually growing, and I will link to additions in the "latest updates" portion of the home page (left, below the calendar).
First, Oil Painting Secrets from a Master, by Linda Cateura (featuring the work of David A. Leffel).
And a little book called Hawthorne on Painting.
Continuous:
I teach an observational painting class at O.S.A. (Oregon Society of Artists).
The Portrait, Still life, and Landscape are among the subjects covered. Focusing on observational drawing and painting, students learn to analyze what they see and record it with accuracy. Various observational techniques such as sight-size drawing, and tips for achieving color accuracy, are discussed.
Class time: Mondays, 1:30 - 4:30pm.
Oregon Society of Artists
2185 SW Park Place
Portland, OR 97205
503-228-0706
www.oregonsocietyofartists.com