Trailer – Painting with Your Eyes
Facing the Light
Took my painting Buddy with me today, Marcel.
Find a good place to paint plein air paint
Work and Toil
An eye opening experience – Ohio
Burn the learning exercises or dud paintings
Young Painters – Young Picasso’s – Big concepts
Seeing color and developing your artistic eyes
It bothers me that some painters say that you should paint only where you live.
2 DVS to help improve your plein air painting
A Quick Demo for Urig’s Plein-Air Nautical Workshop
Cape Cod School – Massachusetts Painters on My National Workshop Tour
I was fortunate to stay 2 days in Maine.
Coming Home to New Jersey
Old West or Wild West and Maynard Dixon Experience
Had a Good Catch
Hangin’ by the dock
Plein Air painting in the Black Mountains of North Carolina
Painters – Be all that you can be
Gray Heron – Spring Island SC
Done for the Day
Old Man by the Sea
Woman in Rocky Stream
Hoist the Sails – Painting in the Carolina’s
It helps to do a color study – Let’s Set Sail
Sun City Hilton Head Island, SC – Get Out of The Box with Painting Knives
Shem Creek & Kiawah Island Workshops
Woman in the Desert
Forrest’s Landed Shrimper Boat
Summary of further past blog posts:
Bluffton Oyster Company – Plein Air Workshop
I agree with Vincent Van Gogh – I am rich
It is a humble occupation being a painter
The CSI Approach to Painting
Development of – Woman on Beach : Looking for Sea Shells
Woman on Beach : Looking for Sea Shells
Summary of past blogs
Native American, Oil, 9 x 12 inches
It was amazing looking at her and the dignity she possessed as an individual. It radiated from her and made me see again that God is in everyone of us. Each one of us tying to understand his message even though we are all very different. That we have chance to show his glory while we live here on Earth.
This study focused on trying to capture form, simplify overall shadow shapes with minimal use of warm and cool colors.
© 2011 Daryl Urig
To me the garden has a fascination that evolves around the beautiful garden of life and the paralleling the garden of the nude woman (Eve) when Adam must have first saw her. The purity of life and love, dwelling in the garden, life as God intended us to all enjoy.
The painting was developed from numerous photos, color studies and an experimental development of the painting, adapting the design and ingredients of the painting as I was able to get closer and closer to my original vision.
Unlike my other paintings till this time, I was able to paint with the painting knives as suited me, then using a brush to paint in areas that required a softer edge or glaze with Walnut oil.
The face was not important for me because I felt that the image spoke for all woman.
24 inches x 36 inches tall, oil on canvas panel
© 2011 Daryl Urig
I am guessing it is because this is the most perfect and valued thing God has created. It is us, and in His image and it is life.
God created us without clothing (nude) and never meant us to ware any clothing from what I can tell. Clothing unrolled after the fall or expulsion from Eden is what we are told in Genesis. Before the supposed bite of apple, probably another fruit from the Tree of Knowledge, and we had no understanding that we where naked or nakedness existed before this.
But I choose to paint nudes not naked(s). Nudes are not naked but pure as God intended. At least this is my take. Yes painting a nude is probably the hardest thing to do well, or the greatest challenge. But for me it is more a reverence of the creators and this wonderful form we enjoy called life. Please don’t ever over look this.
A side note: I understand that in our culture naked has taken on a life of its own with what I would consider beyond the original intent or design. But please don’t confuse the initial innocence God intended. Even take a look at the ceiling of the Sistine Chapel or visit an art museum if that is closer.
To the pure all things are pure. (Titus 1:15)
© 2011 Daryl Urig
It seems that this approach is a very good way to keep looking at the bigger picture without getting caught up with too much detail initially in a drawing. If you are struggling with this, than this approach may be for you.
You are at all times relating to the whole so you most probably won’t end up with misaligned proportions.
I enjoyed the strongly beveled shapes that dramatized form. Softening and generalizing values to emphasize space I then concentrated on the head or face. To many paintings I have ruined by not giving proper attention to all the small detailed shapes and anatomy of the head.
In addition to this I had the sharp shadowing from the trees casting shadows across the models face and figure. It became apparent to me that it was moonlight and I had to pay special attention to what was happening in the forms of the background tree lighting and the cast shadows of the barn next to her.
I realized I needed to bring something in to the foreground by her hand and fence so I took a photo of the image back into PhotoShop to experiment with different images and colors that would work best there. I found a few different flower images I liked, made a black and white print out and went back to painting. With some of the subtle greens in the foliage I was adding I also added some warmer tones in the flowers. Then being careful to subtly add blues glazes, soft yellows into the painting to further dramatize space with the use of warm and cool colors.
I wanted it to look like what things look like when I am outside in the moonlit evening. This you cannot capture in a camera, you have to create it. Things seem so hard for my eye to see and define in the dark. Greys abound and the light seems to dance everywhere and you can feel subtle tints of color. It is almost like your eye sees in some kind of TV static fuzziness.
I was not sure how to handle the model coloration, so another photo and back to PhotoShop to play with what color and how much of it and where it was needed to warm up the models flesh, bring her forward in space and not leave her in anemic, deathly blue tone.
Satisfied with my exploration in Photoshop I wet back to painting to capture my vision in paint.
This painting was taken from a photo I had taken that inspired me. I am including it in my Urban painting series and want to use this painting to explore the massing together of similar shapes and tones in a composition. It is amazing how few shapes and tones we need to really depict a painting. Unifying shapes gives a stronger simpler appeal to the painting by allowing more tones to run into each other unifying the whole painting. It is then much quicker for the eye to read and understand.
To accomplish this I used the aid of the computer and my knowledge of PhotoShop. Using PhotoShop for about 15 years and teaching it at the University of Cincinnati for over 9 years gives me a lot of experience with the program. I took the image and made it grayscale. Then I adjusted the tones under the levels to provide the tonal range I was looking for in the painting. Then under posterize I wanted to simplify the image to about 4 overall tones. To get an image that still resembled the model I set posterize between 16 and 18. Adjusting it a little more or less you could see the forms it accentuated. I did not want to generalize to loose form but to enhance it.
I then went back to the color image and adjusted it to match the tones in the gray scale image but I did not posterize it.
I then printed out a black and white on my laser printer and the other in color on my color printer.
I began developing a tonal image in blue grays and slightly warmer grays to give variety to the under painting. The gray posterized image gave me a good start in separating and generalizing tone. I was trying to keep it to about 4 tones. Working and reworking I was able to get my tones to just these 4 now having moved from the image to only the painting. The image did not dictate the tones it eventually came down to me to make all final decisions. Using my knowledge of anatomy and conceived forms (See conceived forms video) I was able to represent forms that had volume and felt natural.
8 x 10 inches, oil on canvas
I wanted my rendering to capture the simplicity and cascading lighting in this image while remaining sensitive to the subtle color changes in the model’s skin. I decided to capture the light and dark pattern and color changes in a beveled form. Although I made the painting of the figure more linear, it was the atmosphere that I created that held the painting together by merging the figure and background.
© 2010 Daryl Urig, All Rights Reserved
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More on Daryl Urig:
Interview & Bio: http://www.darylurig.com/about-daryl-urig.aspx
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.