Posts Tagged ‘painting from photos’
Tuesday, September 7th, 2010
A true painter engages their piece. They layer in countless strokes to provide shimmer and texture to their work. Their paintings emerge with definitive clarity through gestures of the brush stroke.
When completing a painting, do not copy an image or photograph exactly. Add yourself to the scene, extending your artistic experience to create something new.
When painting, your message must be clear. Don’t cloud your visual expression with your preconceived notions about how a piece should look, as you’ll never create a true painting.
When painting, please speak up!
© 2010 Daryl Urig, All Rights Reserved
To view more paintings:
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Enlist Urig for your next Historic Event Painting: http://www.darylurig.com/historic-event-oil-painting.aspx
More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
 Tweet This Post
Posted in Education, concepts in painting | No Comments »
Tuesday, August 24th, 2010
See the beginning of this story and how this painting started
Woman Waiting in Garden
Oil on Canvas - 24 x 20 inches
For this session, we chose to position the model completely in shadow. After positioning her, it seemed her head and face fell into a deeper shadow, which caused grays, teal grays and brown earthy colors to fill the scene.
My challenge with this piece was to match the deep tones of the scene. I wanted the painting to emerge from the background with somber, bluish-gray tones.
In retrospect, I could have taken a more direct approach to this piece. But I was initially unsure of how dark the tones had to be to hold the figure. Thus, I started painting lighter and continued to paint the piece until I acquired the deep tones. At the end of my painting session, I used Liquin glaze to deepen areas of the painting while allowing the color changes I had previously created to stand.
See the beginning of this story and how this painting started
© 2010 Daryl Urig, All Rights Reserved
To view more paintings:
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Enlist Urig for your next Historic Event Painting: http://www.darylurig.com/historic-event-oil-painting.aspx
More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
Purchase:
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Education, Oil Paintings for Sale, concepts in painting, plein air | No Comments »
Monday, August 16th, 2010
The Old Water Tower on 5355 Miami Road in the Village of Indian Hill, Ohio
Oil on Canvas, 11 x 14 inches
 It was only when I started painting that I realized the large size of the old water tower in Indian Hill. In addition to that, the light at the time of my plein air session lit up both the top of the tower and the ground beneath it. Although this created a beautiful effect, it made capturing the image more difficult. I think I ultimately achieved the lighting effect and showed the grand nature of the tower in my piece, but not without some alterations of my original rendering.
While painting outside, I especially enjoyed completing the top section and cloud portions of the piece. But upon arriving at the studio with my initial rendering, I noticed that the bottom of the painting did not fit with the top section. After noticing this, I repainted the bottom portion based on both my memory of my plein air session and the photograph I took of the location.
Like most of my paintings, I learned a lot from this piece.
© 2010 Daryl Urig, All Rights Reserved
To view more paintings:
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Enlist Urig for your next Historic Event Painting: http://www.darylurig.com/historic-event-oil-painting.aspx
More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Daily Painter, Historical Sites, Oil Paintings for Sale, plein air | No Comments »
Sunday, July 25th, 2010
I recently found a model in the most unlikely place: our bank. She had perfect features for painting, similar to those you see in Baroque Art. Even greater, she was a still model whom everyone enjoyed painting.
During my first session, I painted her in the shadow, quite similar to a Jeremy Lipking piece. For this painting, I allowed my emotional senses to guide me. I was quite pleased with the composition after our 3-hour painting session and critique, even though my piece did not have a completed background.
Luckily, I took pictures of the model in the same position in which I painted her during our first session. The next evening, I printed the images on a 8 ½ x 11 inch sheet and took them to the garden location, set up my paints and worked on the background of the piece. Going back and forth between the photographs and the garden, I painted as much of the background as I could within 3 hours.
 20 x 24 - painting in progress
During my second session, I struggled to complete the background. In my work, I had never been forced to choose between the real landscape and a photograph. Thus, it took me much longer to complete this piece. One thing I learned from the photo was that I hadn’t added enough medium tone to the heart of the painting. Adding this tone (being mindful to not destroy the piece’s coloration) unified the piece.
Overall, I’m learning from the other painters in my group. They’ve pushed and encouraged me. I would suggest that other artists form their own groups to paint.
More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Education, Oil Paintings for Sale, concepts in painting, plein air | No Comments »
Monday, June 14th, 2010
Read more about this story in a previous blog post: Developing a Painting of Grobs Farm #1
Read more about this story in a following blog post: Developing a Painting of Grobs Farm #3
Painting on location, there are many artistic choices to make.
First, there’s the light. I enjoy the effects of light: the colors it changes and the distinct shadows it creates. I prefer painting this scene in morning light, particularly from 9:30 to 10:30 AM, because the light falls on the front of the house, breaking up the building.
The lighting in this piece, combined with the tall trees, provides the scene with a canopy, which coupled with the blue sky, gives the painting a cuddled feeling. Ultimately, I want the centered tree to appear round and to display the pattern of the tree bark, as this pattern of strokes appears elsewhere in the painting and would help to pull together the entire piece.
The bright lighting, on the grass under the house, makes the piece pop. The shadow of the centered tree should end under itself, but I don’t want to interrupt the painting. By bringing the shadow behind the fence, I simplified the painting, tying the piece together and providing a nice contrast and accent to the fence posts.
Second, I try to capture my interpretation of an image on the canvas. For me, my interpretation of a scene is more important than creating a photo realistic image.
In creating my interpretation of Grob Farm, I’m struggling with whether to create the whole piece on location, or to further develop the painting in my studio from photos and smaller paintings I have previously completed of the location.
Third, I try to move the viewers’ eyes through the design of the painting, keeping them on the painting, not off the canvas. The top left tree pops off the canvas nicely, but creates a bad vertical thrust, taking the viewers’ eyes off the canvas. Unfortunately, I have to fix the vertical thrust from the left tree in order to re-focus the viewers’ eyes.
I need to correct some problems within the piece in order to see what to fix next. But I’ve been told that sometimes the area you want to fix is right, and everything else needs to change to balance out the painting. Although this advice further confuses me, I am starting to agree with it.
My next challenge is to pick the right place on the canvas to alter during my next sitting. To make this decision, I need time to think and get in touch with my emotions. Knowing when to start and stop a painting is the most important thing, as you have to be in touch with all of your emotions to paint.
Read more about this story in a previous blog post: Developing a Painting of Grobs Farm #1
Read more about this story in a following blog post: Developing a Painting of Grobs Farm #3
To view more paintings
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Purchase:
Price: Contact: Robyn@DarylUrig.com
Store: http://www.darylurig.com/store.html
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Daily Painter, Education, Historical Sites, Oil Paintings for Sale, concepts in painting, plein air | No Comments »
Sunday, June 6th, 2010
With these pieces, miniature (8” by 10”) plein air paintings of Grobs Farm in Indian Hill, Ohio, I am trying something different.
Grob Farm – May 17, 2010
10 x 8 inches, oil on canvas
Old Farm Buildings – May 3, 2010
Original Oil Painting Blog by American Oil Painter Daryl Urig.
8 x 10 inches, oil on canvas
At first, I approached this project by creating sketches and taking photos of the farm back to my studio. I used these studies of the farm to paint a large image of the farm on canvas. Unfortunately, I quickly realized I needed to get my canvas on location to capture the Farm (see below).
So I hauled my 36” by 24” canvas, a pallet with oil paints and an umbrella to Grobs Farm. I needed the umbrella in order to shadow my painting correctly while outside. I started my second session with this piece (see below), which lasted about two hours. That’s the longest you can paint outside without a dramatic change in daylight. Monet, with his Impressionist pieces, would paint on location for just a short period of time, then pack his things and move on to another painting for a short period, and so on. Lighting is everything, as you want to capture an instance of light with an image, not movement.
I used straight oil paint, odorless turpentine and a no.12 Escoda, long Filbert to build up on my first session’s efforts that I painted and then scraped down with the side of a pallet knife to create a nice paining. This technique was used by Degas, Whistler and many other painters, and it seems to leave a lot of the image. Fortunately, it slightly blurs the original painting, thinning the canvas and leaving paint within the canvas’ weave.
Working plein air the past two days gave me more to which to react and interpret than working from a photo. I might move back to the studio at the very end of my painting to adjust and add detail, taking the advice of an artist I recently read who said although we learn from plein air, paintings are finalized in the studio. I hope he is right.
I am not in a hurry with this large painting of Grob Farm and would like to develop it over many sittings, adjusting and adding to it over time. This is a new journey for me, and it does not get better than this… Painting what I love, outdoors in the summer in broad daylight!
(By the way, today as I painted at the farm, there was a dead possum close to my feet. Maybe this added to the experience? At the very least, it provided a great contrast for my piece!)
Stay tuned as I add to this painting and see its progress.
Read more about this story in a later blog post: Developing a Painting of Grobs Farm #2
To view more paintings:
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Education, Historical Sites, Oil Paintings for Sale, concepts in painting, plein air | No Comments »
Monday, March 22nd, 2010
Drawing with conceived forms and using the classical lighting of the masters is so freeing when it comes to drawing or painting. Once you understand these few basic conceived forms and the lighting on them you can render or paint almost any form with your own direction and perception of lighting.
I used this new conception of forms and lighting in the painting below to help with the rendering of the anatomy of the figure.
To help explain this concept further I have created a video on my website that goes in more depth with some visual examples and explanations. You may view the Video for Free here. Or if you like it and want a higher resolution video, you may purchase it online.
Let me know how it changes your painting, it has really helped mine.
Figurative oil painter Daryl Urig wins Arnold Choice Award from actor and Governor of California, Arnold Schwarzenegger at the Arnold Sports Festival, Art at the Arnold on March 7th 2010. He received a Gold Medallion as recognition from Arnold as his preferred personal choice in painting from the juried event. Visit this post
To view more paintings
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Education, concepts in painting | No Comments »
Tuesday, March 9th, 2010
 
Figurative oil painter Daryl Urig wins Arnold Choice Award from actor and Governor of California, Arnold Schwarzenegger at the Arnold Sports Festival, Art at the Arnold on March 7th 2010. He received a Gold Medallion as recognition from Arnold as his preferred personal choice in painting from the juried event. See Urig’s body builder painting below.
Body Builder – March 9, 2010
Urig Wins Arnold Choice Award at Art for the Arnold - Arnold Sports Festival
Original Oil Painting Blog by American Oil Painter Daryl Urig.
10 x 20 inches, oil on canvas
To view more paintings
Recent work: http://www.darylurig.com/2010-paintings.aspx
Blog: http://DarylUrig.com/blog
Website: http://DarylUrig.com
Purchase:
Store: http://www.darylurig.com/store.html
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Oil Paintings for Sale, sport | No Comments »
Wednesday, October 21st, 2009
Old House (study) – Oct. 21, 2009
A Daily Painter - A Painting A Week
Original Oil Painting Blog by American Oil Painter Daryl Urig.
5 x 7 inches, oil on panal
To view more paintings visit http://DarylUrig.com/blog or http://DarylUrig.com
Price: Contact: Robyn@DarylUrig.com
American Oil Painter Daryl Urig is a member of The Portrait Society of America, Oil Painters of America and Cincinnati Art Club. He has taught at the University of Cincinnati for over 8 years and is president of Total Media Source Inc.
View his Exhibit and Awards by clicking here.
Subscribe to Daryl Urig’s “The Adventure of an American Oil Painter” Blog by Email
Tweet This Post
Posted in Daily Painter, Education, Oil Paintings for Sale, The Uphill Climb | No Comments »
|
