Open Media Self-Portraiture and Understanding the Human Face – Cincinnati Art Club

This past week Urig taught a Self-portrait Workshop, The kick off Workshop for his National Tour beginning this year, at the Pendleton Location for the Cincinnati Art Club. One of the oldest Art Clubs in the Nation established 1890. The workshop met with great enthusiasm from participants. Urig began the workshop with examples of self-portraiture painting through history. Hands on demonstration of understanding the proportions of the human face. Painting and sketching demonstrations to help the artist better understand concepts of the human face and exercises to deepen the artist skills. Finishing off with a self-portrait demonstration and providing ample time for the artist to begin developing a self-portrait. Many of the students had never attempted portraiture or even self-portraiture and found the workshop to be extremely beneficial. One testimony reads: Very good workshop. Covered basic artistic anatomy to advanced painting and drawing techniques. Daryl was very patient and thoughtful. Good explanation of concepts. – Dr. Michelle Andrews The portrait shown here was developed with a charcoal sketch on 11 x 14 in. gessoed panel finished with M. Graham Walnut Oil an Oil Paint.

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Urig’s Learning by Imitation of Frank Benson and Evening Light

Learning by imitation has been considered the most sincere form of flattery. In painting it is much more. For me it is like a free instruction from a famous painter that I truly respect. I hang on his every stroke, color choice, trying to mimic what he may have done in the building of his painting.

I was astonished about his choice of raw umber being mixed almost every color to grey down the intensity of the colors and provide neutral greys throughout the painting. His soft strokes appeared to be painted with almost the same small brush through the entire painting. Colors moved in and out of the lightened raw umber tones in warm and cool directions causing vibration of color bouncing and jumping all over the canvas. Tones where kept to about 3 tones, laid out precisely in a well-organized design.

Studying the way paint was applied; color choices and the design tendencies make me appreciate how Benson painted.  Inspiring confidence in me that I can do this, I understand this. It is not as complicated as I try to personally make very painting I paint. I felt relaxed from the experience of learning from Frank Benson, a 2-day personal workshop at the Cincinnati Art Museum.

© 2011 Daryl Urig, All Rights Reserved

3 Sketches from Cincinnati Art Club – Studio – Original Oil Painting Blog by American Oil Painter Daryl Urig

These are three sketches I completed with a long hair filbert brush at the Cincinnati Art Club. The filbert brush was a departure from the pallet knives I’ve used over the last few years. Pallet knives taught me to simplify and match the color I wanted. I attempted to use the same technique with the brush, and I was pleased with the results.

The first piece, Claire, is an 8 x 10 inch painting on canvas. The softness of the brush’s bristles make the edges of the painting less clear, especially in comparison to the lines created by the pallet knife. Nonetheless, I think there are good separations of the painted model, which adds great form to the image.

The second piece, Lost in an Empty Room, is an 11 x 14 inch oil painting on canvas. The disparity of the lonely, half-naked model in an empty room intrigued me. The light and exit through the door is clear due to the use of the filbert brush. The hard beveling form of her face dramatizes the image, emphasizing her age and despair.

The third piece, Construction Man, is an 11 x 14 inch oil painting on canvas. The loose brushwork and softness of the color changes add richness to the painting, especially in the forward forearm. The manner in which I painted this gives the viewer a strong spatial contrast. Also, the loose brushwork and color choice of the paint on the construction worker’s apron helps arrange the spatial order of the piece. Again, the strong beveling of the face’s form adds focus to it, even though it’s loosely indicated.

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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.

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