My post today is the second half of my entry from two weeks ago. Ā If you didn’t read that post, or would like to refer back to it, here is the link – Process to the People: Part 1. Ā My goal in the first half was the show how the predominant artistic tradition over the last several centuries and through the Golden Age of Illustration followed a specific process. Ā Also, I hoped to show how changing your process can potentially improve your final results.

For this half of the post, I am going to show my steps for a recent painting, applying some of the traditional steps but also using some modern tech to possibly add efficiency. Ā I want to reiterate that this is just one approach. Ā I find it intriguing because it was used by nearly every artist of the past that I admire. Ā It is where I want to go with my work. Ā That may change, but for the last 7 years or so it has been my focus. Ā It doesn’t mean it is the only way to get the results you are after. Ā There are some incredible artists today that start right on the canvas, designing as they go. Ā So, with that in mind, take from this post what you think might help your process and not as an indictment against any other approach.

As a quick recap, the process used to go from idea to final was this:

1: Thumbnail sketches
2: Detailed sketch
3: Studies from life (or photography)
4: Value/color sketch
5: Study of head/hands/feet/fabric/difficult passages
6: Full sized cartoon
7: Final painting

A few years ago, I was approached to do a series of religious paintings. Ā The commission was enough that I could really focus on the images, take my time and develop the work. Ā I decided that I was going to proceed with the above steps, but also use what I had learned using the computer as a tool. Ā So, as you will see I adjusted the process, changing some of the steps. Ā I am still in the middle of my experiment so I can’t say if it is an advancement, just different, or step back from tradition. Ā We will see!

1. Ā I started with thumbnails as usual. Ā I did 20-30, but here are a few to give you an idea. Ā Just a minute or so on each one. Ā Investing a half an hour at this stage is small, but with a huge return. Ā I went through a lot of ideas. Ā Most of you probably do many thumbnails, but if you don’t, force yourself to do more than you think is necessary. Ā The purpose of this step is to possibly find new ideas and refine your vision.

2. Detailed sketch – Still from imagination, really just a more developed thumbnail. Ā The purpose of this step is to direct you when posing your model, gathering reference and determining other details for the final. Ā Still a rough drawing, but enough information to get you moving forward with some confidence.

3. Life/Photography and 3D model if needed – At this point I had to decide, do I paint from life, or work from photography? Ā If possible, I would paint from life, but often it is not an option for the model or budget. Ā I would rather have the right model for a specific piece and use photography than find someone who isn’t quite right who could pose and have to compromise.

I have invested a fair bit of time into learning better photography skills (though these photos do not show it particularly well). Ā Not from an artistic standpoint, but from a technical standpoint. Ā If you are going to use photography and take the images yourself, learn how to really use your camera. Ā Decide that you are going to become and expert and invest the time or hire someone who has. Ā I fuzzed out the face of the model, because in the model agreement (always good to have one signed) I didn’t have the rights to publish her likeness from the photo. Ā I don’t think she would mind, but good to follow the agreement.

When I do a photo shoot, I usually proceed with this mindset:

1 – Try to capture the whole figure at once
2 – Focus just on the facial expression, don’t worry about the whole
3 – Focus just on the hands
4 – Feet
5 – Fabric

By the time I was done with this shoot, I had 200 or so shots that I was able to choose the best elements from.

I have also used 3D models to help establish some forms. Ā My preference is Blender. Ā It is free and plenty powerful enough to do all that I need it for. Ā It is a great tool.
Photo reference for textures and scenes is important too. Ā When I go on vacation, I become *that* guy with my camera. Ā Camera always up to my eye, snapping pictures of the most mundane things. Ā In France, I took 4500 pictures, only 20 or so had me or my wife in them… Ā the rest were of trees, rocks, walls, doors, buildings, plants…. Ā Same with Italy, though I was sure to get a few more with family in them!
Ground reference

Plant reference

Texture reference for the well

4. Value/color sketch/studies/full-sized cartoon – If you are comparing my process to the one listed at the first of the article, you will see that I am combining several steps into one here. Ā Here is where my digital background is coming into play. Ā I painted a finished version of my piece on the computer. Ā This let me work out all the values, colors and detail that I wanted in the final. Ā It also provided me with the chance to do studies of the hands, head, feet and fabric. Ā It also provides me with a full sized cartoon. Ā All in one piece.

When the file was done, I sent it off to a blueprinter and had it printed at the final size. Ā The prints are rough, black and white, but only cost $2 for a 34″ x 50″ print. Ā Very cheap. Ā I used this print to transfer the drawing to the canvas and then inked the drawing with india ink and a brush. Ā It is a very fast method to get your image onto the canvas. Ā There are other great ways too. Ā I will comment on that later in the post.

Once I have this image, I take advantage of the tech at my fingertips and try some different color ideas. Ā Even if I am pretty certain, I always shift the temperatures around, or change colors completely. Ā Why not? Ā It is fast and I learn a lot about color relationships, even if I don’t go with the changes. Ā I actually do this every time I finish a piece. Ā I spend a few minutes trying out different color schemes. Ā It is a great way to explore color!

Maybe some different costume colors too

I think I know what I want, so on to the oil painting!

5. Final painting steps

Early progress shot. Ā You can see the transfer lines, inked over with india ink.

A little more progress. Ā Color wash on the whole lower piece, face is nearing completion.

Upper two thirds are done, just the feet and ground to do. Ā Almost there!

Living Water – 34″ x 50″ oil on linen

I also decided to build the frame for the painting. šŸ™‚

Conclusion – I definitely feel that all the work before starting the final was worth it. Ā I have more years under my belt working digitally than traditionally, so there are aspects of the digital version that I probably pulled off better, but overall, I feel that the final oil painting is the strongest, especially in person. Ā I am still finding out if substituting the digital study for traditional is an improvement. Ā My mind tells me it is, but there is a nostalgic, even romantic side of me that wants to do those steps with just like the old masters did.

For my most recent paintings, I haven’t printed out the large print to transfer the drawing (like I mentioned in step 4), but have done a grid and scaled up my digital painting by hand. Ā I find that I like the direct interface with my drawing at this stage. Ā I add in little touches that are interesting that I miss when transferring the drawing like I did with this piece. Ā I might make a conscious effort on my my next painting to combine the two, transferring big shapes and free handing the details. Ā We will see.

I don’t think I will give up tubed paint or my digital camera as a tool, but look for a future post where I work without my digital toolset and create everything with a traditional approach.

Experience will tell. Ā I am sure that I will refine my process along the way, and will post results when I think they are informative. Ā I would love to hear your thoughts.

Last step – onto the next painting.