February 25, 2009:
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The length of time it takes to complete a painting varies by size, subject, and complexity. An unseen factor in this equation is the amount of time a painting sits still, prior to finish.
"Still Life with Venetian Red" (pictured - right), was painted over the course of five or six sittings; a typical pace. Atypical, was the amount of time this painting spent propped against the wall between sittings.
My painting process can generally be broken into two steps: Starting and Finishing (Underpainting and Overpainting). The lengthy underpainting process involves forming the idea, composing the picture, and identifying shapes (drawing). Overpainting, by contrast, is speedily carried out as most of the problem-solving has already been done. Standing atop an accurate and reliable underpainting is the only time I would call painting 'easy' (though 'easier' may be a better choice of words).
With so much weight placed on the importance of underpainting, a regrettable ‘dragging of the feet’ is sometimes provoked by the prospect of overpainting. If a problem is left unsolved, overpainting becomes re-painting, and additional issues may arise. To compensate, the underpainting process is frequently revisited during this hiatus, providing further refinement in anticipation of finishing.
The need for reassurance lengthens time between start and finish, hindering productivity; Five or six sittings can turn into several months.
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