Life can be complex

With the realities we experience each and every day.  Trying to be true to our path is not an easy accomplishment.

Are we in America under constant impending danger? Is 9-11 the beginning of more to come?

So many questions to be answered. I try to stay true to the Bible as it speaks to me as a person. I cannot say how it speaks to others. I am much better at being imperfect.

As an artist we strive for honesty. We do not try to entangle our views with lies as are so prevalent with our current lively-etude.

May an asteroid hit our planet or some small country attack us or create a global world is uncertain.

But we must stay our coarse. As God has aloud in these uncertain times.

We must be the voice of sanity and promise of a better life in the here and now and the eternal, which is by faith.

It is like pressing hard iron in a bench press believing for greater gain in a muscle group that we strive. Proclaiming the greater good.  Hoping for it in our hearts and minds, and believing God to carry it through.

In a water fall we see His presence in light and movement. On any scenario we see the warm and cool colors of light. He is always there.

Be at calm if you can, he is alive and will be their for you.

Every aspect of life continually challenges me every day. This leads me to the beginning of each new day to pray.


© 2011 Daryl Urig

A list of many of my recent posts

I wanted to list many my recent posts, just in case you missed one. It is a good habit to do this in a blog, and I have not been very good about it. Please review below.

An Artist Prayer

Call Me

An Artist working with oil painting mediums

Captain Bruce Bishop

Romantic Walk

Give it up painters – to create great paintings

Light is the Stairway to Heaven

Their is plenty more great content that can be found by searching a category such as these below using the left sidebar:

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Hope this helps.

An Artist working with oil painting mediums

I have been working with different oil painting mediums lately with my oil paints. I did the entire series of rural paintings using Liquin, from Windsor Newton, a glazing and fast drying medium. I understand Gamblin, Galkyd Lite is an equal rival for the medium. You may use 10% by volume Alkali Refined Linseed Oil or Poppy Oil to slow the drying time down. They both do dry rather fast so the addition of Linseed oil is welcome to slow it down and provide time for modeling.

Since I do like to have some texture to my paint, I did not like using Liquin. It dried with little emboss of oil paint. It was great if you wanted a very flat painting.

Since this time I have experimented with a masters recipe of:

For the under painting (for some referred as Verdaccio or Grisaille):

1 part Linseed Stand Oil

1 part Dammar Varnish

5 parts odorless mineral spirits or better Gamsol

For middle layer:

1 part Linseed Stand Oil

1 part Dammar Varnish

4 parts Gamsol

For the top or final layers:

1 part Linseed Stand Oil

1 part Dammar Varnish

3 parts Gamsol

This goes with the concept of painting fat over lean. Meaning using more oil medium with your oil paint, not referring to the thickness or impasto of the paint as you work towards the finish of your painting. So progressively you would paint with more and more fat paint as you proceed in your painting.

So far I have enjoyed the versatility of adding this to my oil paint and the variety of brushstrokes and marks with my pallet knife that I am able to obtain.

© 2011 Daryl Urig, All Rights Reserved

Daryl Urig On The Road National Tour Workshop

Working with other painters is so rewarding to me. To see them grow and learn new things that will directly benefit their art. That is why I have chosen to go On The Road with a National Tour from East to West Coast. I am still booking new locations so please contact me about having a workshop at your facility, gallery or art center.

So many artists love portrait or figurative painting. Getting started or getting a better grasp on it is not always easy. Even finding a model can be costly and inconvenient. So I have structured a Self-Portrait Workshop. Like so many great artists and Old Masters before us they too need a model and by convenience chose themselves to model in a mirror. Rembrandt, Van Gogh, Caravaggio, Cézanne, the list goes on and on.

You will be inspired by what a self-portrait can be and I will provide valuable teaching and instruction on how to begin or further your understanding of portraiture and the human features of the face. This is a very valuable workshop for beginning or experienced painters.

Look at Workshop Here:

© 2011 Daryl Urig, All Rights Reserved

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Self-Portraiture is the truest artistic expression

Self-portrait is very cool. It is the perfect direction for the accomplished or beginning artist to tackle. Besides allowing for personal expression it provides the perfect learning experience.

Know thyself, says Socrates. When one explores this it is said to lead to profound understanding about all creation. We are told that if we can love ourselves then we can love others it is the first step in being able to perform true love. I believe self-portraiture has a similar concept for the artist. If we can paint ourselves, learn from our face, our features, our expressions, we can more intimately viewing and paint others.

When we paint ourselves we establish a norm from which we can understand others. How do others differentiate from myself? Painting my self-portrait has explained to me why I paint certain things the way I do. It also explains to me why I have difficulties with other people’s features and proportions, because mine are not theirs.

There is no perfect standard of proportions, everyone deviates in some way or another, but if we can form in our mind the idea of a real life, feelings and structure we can paint our self-portrait from the inside out verses outside in when painting a portrait of another, to get a handle on portraiture. Like we never ever had before.

Can we truly gauge what a sitter is thinking or feeling? We can only guess as we try to copy the outward form. But by knowing ourselves and relating it to the outer form there is a more profound connection for the painter to understand the deep going-on’s than with any other type of painting.

The Old Masters like Rembrandt, Van Gogh, Caravaggio, Courbet Picasso and Cezanne must have experienced this as they have giving us some of the finest portraits being self-portraits. These portraits embody the painter more than any other painting. They give us themselves as they see themselves.

Please explore self-portraiture. And if you desire more, please join me in my national tour of self-portraiture workshops as I tour from east to west coast over the next few years. I would enjoy meeting you and helping to see yourself and art in a new dimension.

© 2011 Daryl Urig

The Self Painter

Not quite sure what I saw staring back in me from that mirror in my dimly lit studio on that over cast two days. As I starred down the proportions, form, colors and shadows a character emerged, more elongated, like the figures I so enjoyed painting  from the museum of El Greco’s.

I could feel the blue-ish cast highlights and warm obscuring tones on the figures face. My face. Trying to focus on what was important and giving some suggestion of the space I occupied.

I am inside here, this is me, my troublesome features test me to depict them accurately. I seemed at rest and peace, no rush as when dealing with a model and trying to get the information down before they sag or move so terribly. Stand still, as if it really mattered, I could just slowly move back into my proper place as the model and the painter in this self-portrait. This is where it all comes together. At least for me right now.

Self-portrait in warm shadows, 9 x 12 inches, oil on canvas panel

© 2011 Daryl Urig

Self-Portrait Workshop

Leisurely Walk

Leisurely Walk 16 inches x 20 inches, oil on canvas
Leisurely Walk 16 inches x 20 inches, oil on canvas

In my journey and study of paint it seems I have so many things in my head that I would like to explore. But I am slowly learning it is better to explore one thing at a time as not to confuse myself by juggling multiple concepts.

In this painting of the Leisurely Walk, I had a totally impressionist concept in mind before I began the painting. I wanted to paint the light almost abstractly as I feel it, with some areas more clear and bright and other light more peripheral and obscure. This was good to have a target, for when you have a target you can tell when you hit it. And when you hit it, the painting is finished.

I knew that from my recent studies that I wanted to use more greys since they seemed to add more air into paintings. I wanted to start with a simplified color palette and stay true to it as much as possible to add greater unity to the painting. I also wanted to be ever so conscious of creating the correct color but even more important was the correct value with the color, since value in a painting is so critical in holding everything together.

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© 2011 Daryl Urig, All Rights Reserved

The Lookout

The Lookout 20 inches wide x 16 inches tall

This painting comes out of much study and personal development.

Unlike other paintings, the concept was to paint towards my vision. When I had met my visions goal, the painting is assumed finished. What a way to start and finish a painting.

First of all I took more than 1000 pictures with a model on a two-day shot. Then carefully selecting and manipulating the image in PhotoShop for design, color and tones to bring me closer to the initial vision I had for this painting.

Working from a more or less monochromatic study that I was very careful in how I developed my tones and my intention was to keep them to only a few varied values. Unifying areas that I would have earlier allowed to scream out in all kinds of value directions. Trying to keep my color to fit the plane it occupies, relating it to the values study, while carefully manipulating warm and cool colors of even the same tone to emphasize form.

I have to say that this painting does not resemble the photo, but the special vision and tension I had hoped to create.

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© 2011 Daryl Urig, All Rights Reserved

Painting the artists’ first glimpse

We all know that when you get back to our studio and look at the photo we shot that so much is lost or missing from what originally inspired us from a scene. A photo, even from a good digital camera cannot capture all of the color and for sure not the impression you received in your eyes and spirit at first glance.

So when I get back to my studio and look at my photo reference I am careful in how I am able to enhance the image in PhotoShop. I make a print out to refer to, I have seen some paint from their computer monitor but this does not work for me. Then I start painting. I am looking at reference photos, but am painting from my memories and inspiration from the event when I took the photos. I can feel the original glimpse I captured in my spirit, with abstract colors, movement of shapes and impression of light in the scene. This is what inspired me in the first place to paint this painting. This is what I need to paint.

© 2011 Daryl Urig, All Rights Reserved