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This was the highlight of my Christmas projects. I can’t tell you how fun it was painting a portrait of this precious little girl, while expecting my own baby. This little jewel is MacKenzie, and her little sleeping self is sure to warm your heart as she did mine.

The reference photograph was taken by the extremely talented Kahlia of J. K. Mitchell Photography. If you think that this photo of MacKenzie is gorgeously cute, than you will love all the other work by Kahlia. From the beginning of memory photos in maternity moments to your infant to your children’s happy moments to the whole entire family, Kahlia is diversely skilled in documenting all the different and precious stages of your life. You can check out the variety of her amazing work HERE.

I’m honestly super picky about canvases, therefore, I result in making my own. With the help of my wonderful husband, we got this tightly stretched and extremely smooth canvas surface.

After making my own crop of the reference, I sketched the painting out in charcoal. The charcoal properties won’t bleed to the surface of the painting like pencil will overtime, preserving the quality of the painting.

This is the first layer of paint with the second layer going on the background. I mapped out the colors and shapes of the baby, hat, and ribbon. Don’t you love those lips?

As the second layer is applied, I focus on the gradation of colors and detail of the hat. The ribbon begins to shine. I try to paint as much detail as possible, without overworking the paint.

Portrait finished! The third layer of paint and such creamy skin. The eye lash, lips, hat, and ribbon detailed are set in place. Don’t you want to touch those cheeks? I’m so happy with how this painting turned out! This commissioned portrait was a Christmas gift for MacKenzie’s family. Thank you, Kirsten, for believing in me and letting me be apart of this special time!  Here are some close ups for you to enjoy.

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Several years ago, I would have told you that I’d never do any digital painting. Not in Adobe Photoshop, or Painter, or Sketchbook. That wasn’t even an option. I strongly believed in traditional art and materials. They were what I knew and what was most comfortable. I’d probably even admit that back then.

When I started talking to my friend, who is now my husband, he teased me about doing digital painting. He told me I’d like it and that I’d be surprised. Puh-lease! I told him I was not going to go there. Not a chance. If you were going to be a classical portrait artist, then why would you need to digital paint?

I should have just shoved my foot up my mouth and chewed off my toes, because the other day I started my first digital painting. This was no easy feet to conquer, and pun quite intended (to be so clichéd). A lot of mental preparation took place to even get me going in that direction, as well as figuring out the tools I would need.

That is when I bought the Intuos 4 Wacom tablet since you need digital tools to work on a digital painting. Secondly was the program that I would use to paint. Fortunately with having to use Photoshop for my photos that I used in my other artwork (talk about being traditional…goodness), I already had the program thanks to my husband. Yippee.

Ok, I had the materials, but what then? I looked at other artists work. Read magazines, blogs. (Yes, I’m doing this self-taught.) And I still….waited. Procrastination? Maybe, but I think a lot of it was fear. What if I don’t live up to the realism and high standards I have for my traditional work? What if it stunk? I wouldn’t know until I tried. But I really didn’t know what to start painting on my computer. What would be a good basic idea to get going with digital painting?

Five years ago I developed a fantasy species (drawing on left), and I have been incorporating this species into my book. Last week I revisited drawing this character (drawing on right).

While taking the second drawing (above) as my foundation (something I’ll probably enjoy doing the most when working digital), I started the digital painting. And would you know it? Digital painting is better than I ever imagined.  I could make the canvas bigger, smaller, making bigger ideas, adding backgrounds, foregrounds, details. I feel like I’m at the best roller coaster park ever.

Here’s a little preview of the digital artwork below. It’s only a segment of the work. It’s going to take me some getting used to. I feel so bashful, like I did when I first started drawing.

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Alright, I know…never thought I would be seriously looking into this. But ever since my wedding in March, I’ve had time and some freedom to reflect on whom I’ve wanted to be as an artist.  After becoming very conflicted with my art direction, John and I sat down and talked about what I was like during childhood.  The examples came instantly — somehow I’d manage to get my brothers involved and we would play “make believe” all afternoon.  Some days I wouldn’t want to touch on the topic of make believe, but instead sit in front of the children’s bookcase with piles of vibrant books around me (I enjoyed looking at every detail of  the pretty illustrations while I diligently read each page).  Other days I would build cities of Legos or Lincoln Logs.  Constantly making up things and stories.  That’s what I did naturally.  But for some reason, ever since I’ve been an artist, I had this idea that I had to be a classical painter and traditional artist — only creating what already exists

Perhaps my traditional art style was so insistent because my painting inspirations were from the Old Masters or my teachers, but if I wasn’t drawing a realistic portrait or flower, I would be doodling creatures and people I invented.  That’s what I called my “doodling.” And with a lot of contemplation, I’ve realized that my creating doesn’t have to be limited to classical/traditional portraiture, but I can incorporate my crazy imagination along with it!  So excited.  So excited.  I’ve been excited about projects before, but this feels like I’ve finally found myself. Finally.

While I do have two paintings to finish before I start a new artwork, I am planning on my next piece.  I’ve had this graphite project spinning in my head for the past two months.   Here’s a little sketch of the concept that started off the idea.

After dwelling on this sketch for several weeks, the mood and movement desired for the artwork has become clearer. It’s going to be black and white, pencil drawing  because that is the only way I see it.   But to pull this off in a photo-shoot, I knew I would need back up.

I’ll talk about the details and the photo-shoot more in the next post!

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Road trips.  Done a few of those these past few months.  During our honeymoon we traveled from Las Vegas, Nevada, to Grand Canyon and Sedona Arizona.  Two weeks ago John and I drove out to Missouri to photograph our friend’s wedding.   Aside from being contained in a speeding box of death for several hours on end till the next rest stop, traveling in general has always been my biggest time for inspiration and thought.  I noticed the pattern after the last trip left me with more ideas for my portfolio projects.  This is exciting for me for one reason.  I’m learning how my creative juices start to flow.  Not when I’m  painting.  Not when I’m lying in bed at night.  Not when I’m taking a walk or relaxing by the pool, but when I’m driving (or riding in a car).

Through my ideas, I decided that my focus is going to be my portfolio.  How is that new?  Well, I’m stepping away from the commission side of things and my focus is not going to be on  making money, but making excellent art.   I think when staying within the “rules” of portraiture and “representational art,” I’m pretty good.  But what about making something excellent?  Having a body of work that is completely created from my little brain and hands versus the customer’s wishes and wants is kind of bazaar for me.  It hasn’t been apart of the creative routine as much.  At that point you’re not accountable to clients, but to yourself.

Seems like an exciting trip.  Do I have what it takes to last the journey?

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Here is the long awaited photo of progress on the current oil portrait in process.  It’s just a close up.  (The whole painting will be revealed once it is complete.) Spencer is painted with grisaille gray underpainting.  I changed some of his facial structure some. He looks older.  He’s going to change so much as I add more layers and sculpt his face. Sculpture with paint.  Haha.  Also what you see there is the application of the 2nd layer which is the first layer of color.  His hair has the complete second layer.  One thing I’m being a little to cautious of is that I’m afraid to add too much color and what that is doing is making him look very pale.  He looks washed out and almost dead at the current with the full 2nd layer of color.   Kind of creepy.  The gray undertone is coming through really well.  I need to kick up the color.  But I’ll talk more about that later when I can actually show you what I’m talking about.

The I applied the gray layer very thick for a wash.  Don’t know why.  I just decided to try it. Again, the more detail I start out with, the easier it will be to progress the painting, yet I find I’m still having some trouble.  He looks older than he is and I’m dealing with those issues.  The horse has the burnt umber wash.  With all of that hair, I don’t feel that there is a need to have translucency in the skin.

But one thing for sure, he’s coming across with the sense of honor, bravery, and c0nfidence that I wanted.  Bravo.

Constructive criticism is welcomed.

blessings,
Grace