It’s a cat in the breed of Siamese. Video of the painting process below!
On the abstract landscape kick lately. Trying out new color combinations. Video of the painting process below.
When I started this one, the bright colors I used were simply going to be an under-painting for the more realistic landscape to come, but after I added the tree trunks on the left side, I knew it had to be a colorful abstract landscape. So I just went with it. It was like the trees had voices and wanted their own thing. The Voices of the Trees. Video below of the painting process!
This series began two years ago, really, as a set of four 36x24" paintings which were painted all at one time, the idea being they could be displayed as a group or individually. I had originally called them "Paysage Energique" (Energetic Landscape), but I am renaming them as "Through the Wild Wood---large". Here they are (all of them still available, by the way):
The new set of Through the Wild Wood paintings are smaller, at 8x10", and available in both vertical and horizontal formats. I painted a batch of ten each to start with. These paintings are all similar in style and color and subject matter---indeed, they are painted in batches to ensure the consistent look across all paintings in the series (see video below of the painting process)---but they are each original pieces. Due to the nature of this series of paintings, I will not be posting each specific painting, only these few examples of the painting series---you understand.
Additionally, because of my rapid workflow and because they are painted on canvas panels instead of bulky traditional canvas, I am offering these 8x10"/10x8" paintings in the Through the Wild Wood series at a lower price-point than other paintings of this size and I am also offering free shipping! (Thought I'd make it easy to say, "yes.") Anyway here are the smalls:
And finally, here's a little video of the painting process. (If you've been enjoying my videos, please subscribe to my YouTube channel to be notified when new videos come out! Oh, and here's the link my YouTube channel: youtube.com/user/wessf. Thanks!
I plan to do a few paintings in this Abstracted Pineapple series.
These four imagined landscapes were born of an energetic series of painting sessions wherein I had the idea to make these four canvases work as individual paintings and as a group. Together they form a rather fantastical, fiery copse of trees, an arrangement I could only call an energetic landscape (or "Paysage Energique" in french).
This one falls more on the illustration side of things. I wanted to paint a simple painting of a kid running with zero background detail and was happy with how this turned out . . . then I added a cape to the kid and that made the painting work for me even more, adding a bit of a story to the piece.
Just a quick rendition of three apples. I always loved the look of multicolor handmade prints--the way one color might not match up with the next color--so I kept that aesthetic in mind, letting the first-pass color red peek through around the black sketch.
This is a commission I painted a few months ago. I took photos along the way and thought I'd share a bit of my painting process for you here.
First off, the reference photo. Here's the photo I was working with. Ideally, the photo should encapsulate the basic layout of the painting itself. Photography after all is an artistic pursuit in its own right. This photo was taken in landscape but I want a portrait-oriented canvas---not so bad as this was the only major change I needed to make.
I usually don't make a drawing before starting in with the paint. Here my main goal is to cover the canvas with paint---I am trying to capture the placement of the subject but only roughly [and knowing I will be changing and perfecting anything I paint at this stage].
Once the shapes are roughed out and the canvas is covered with paint, I start the process of reshaping the form into something more akin to the photo. The client wanted a nondescript background with vibrant reds and yellows, so I laid it on thick, adding dramatic lighting by suggesting shadows on the ground [notice, there are actually little if any indications of a light source on the dog's body itself---if I wanted a more realistic representation, I would definitely address this issue perhaps by retaking reference photos with a light source coming from the left].
I usually do not like to leave dead spots in my paintings---places where there is a single unvaried color---notice how the white of the chest and the tan of the back are both mottled with gray, indicating fur and making those areas more interesting. And of course, the background is a mishmash of undulating color.
I am pleased with the final painting, though it took a bit of time toward the final stages getting the details right. I focus most of my attention in the later stages on the face, since this is the focal point of the painting and the focal point is where most of the details should reside. Other important parts of the painting---the carefully attenuated feet and the dramatic shadows beneath those feet---make the entire surface of the painting important to the viewer. The eye moves from the focal point to the interesting background, to the feet and shadows, then return to the features of the face.
Finished painting, photographing, and posting this one with 36 minutes left in the day---close one (I did say I'd try and post something every day, didn't I). We spent the day at the zoo today, the wife, the kid and I. We had a blast.