Just finished "Harvesters Resting", 31" x 48" oil on linen canvas.  The idea for this painting was inspired by the great painting of the same name by Francois Millet (pictured left). I had been thinking about this painting for a few years but was stumped as to how I could accomplish it.  I thought of perhaps hiring an entire group of farmworkers in the fields for a photo shoot, almost like making a mini-movie but instead I stumbled upon a scene of fieldworkers resting by the side of the road on my way down to Pasadena for the Gold Medal Exhibition reception last April.  I pulled over the side of the road and started taking pictures.  From these pictures along with the painting by Millet, I was able to draw the rough thumbnail sketch (below left) which was the basis of this painting.  I later hired models, both professional and non-professional (including my student and the janitor!) to help pose for this painting.  The thumbnail was invaluable and allowed me to clearly direct the models and lighting as well as aided the models in how to pose and to see what exactly I was trying to achieve.  Armed with these photographs I was able to complete the more finished sketch (below right).

Thumbnail Sketch: ink pen on 5" x 7" sketch pad.

Sketch: graphite pencil on 11" x 17" bond paper.

Next, I completed a color study of the painting (below left) along with a plein air study of the background scene which was completed on site off Davis Road in Salinas, California.  In most all my more ambitious paintings, I complete an underpainting (below right) in a transparent oil wash in usually raw umber. This allows me to work out all drawing, composition and value issues as well as aid in the overall color harmony of the finished painting.

Color Study: 8" x 12" on linen panel.

Underpainting: 31" x 48" oil on linen panel

The completion of the painting took most of the summer (off and on) to complete.  It measures 31" x 48" and it marks the first time I had the canvas professionally stretched.  A local frame shop built the custom stretchers and stretched the linen canvas that I provided.  I must admit, that having completed the color study, the "pay off" of the final was a little anti-climatic.  The excitement of the finished piece was already achieved in doing the color study so completing the larger version was less inspired and more workman like, although I think that this is the best way to insure successful larger works.  I've also included a couple of details from the final painting.

Final Painting: Harvesters Resting, 31" x 48" oil on linen canvas

Just finished a series of private painting lessons with a nice lady
named Pauline from Fresno.  A challenging experience to work one on one
in the studio.  We decided it would be best to stay working in oil wash.  It worked out well as it was a good transition stage from drawing to painting.
One of the perks of teaching is being able to paint from the model myself.  The following are a few of the oil wash demonstrations I completed during this series of 5 lessons.  Those of you from the Monterey area may recognize well known models Victoria B. and Brenda.

Model: Victoria B.                              Model: Brenda

The following pictures are from my workshop at the Andreeva Portrait Academy in Sante Fe last month.  The first day our model was Raven, a well known model in Sante Fe and I completed a oil wash demonstration in a couple of hours.
On our second day, I completed a limited palette demonstration of our model Bill Cowdy using cremnitz white, yellow ocre, cadmium red and ivory black.  The last three days were devoted to painting our model Graciela in a extended palette.


Raven: 2 hour oil wash demonstration.


Bill Cowdy: 3 hour portrait demonstration in a limited palette of cremnitz white, yellow ocre, cadmium red and ivory black.

Various pictures from the last three days of the 5 day workshop using an extended limited palette.  Our model, Graciela.