Lesley Spanos Art » Step-by-step

Mr. Bee Poses For His Portrait

Lesley Spanos — Sun, 20 May 2012 19:51:32 +0000

I don’t know why I love the Bumble Bee Bop so much. I guess part of the reason is because these guys are always cheerful, and just so darn cute.

Then there’s pure artistic admiration. The designers managed to create believable personalities from basic shapes that remind me of a giant billiard ball stacked on top of a giant yellow golf ball. The simplest designs can be the most effective! These bees have no moving parts – the head doesn’t turn, and the arms are stationary – yet from every angle they present a different expression. Sometimes it’s “Ta Da!” or “Peace, brother.” This one’s my favorite, the humble “Oh, gosh, you want to paint little ol’ me?” look.

There’s a new Angry Birds theme park in Finland. Their version of the Bumble Bee Bop features the Big Brother bird from the game. Too cute!

Available on Artfire

The Hunter

Lesley Spanos — Thu, 03 May 2012 18:09:27 +0000

His prey drive is off the charts. He’ll hunt relentlessly, even in knee-deep January snows, stalking small animals until he has icicles growing on his whiskers. He’s the King of the Back Yard, but indoors, he’s just our big, cuddly boy.

Available on Artfire

The Ancient One

Lesley Spanos — Fri, 20 Apr 2012 00:00:15 +0000

Only Miss Lish knows the secrets behind the scars on her ancient face, and she’s not telling. At age sixteen, she has the mug of a battered boxer, nose dented and one eye in a permanent squint. Perhaps she broke her face diving for cover under a piece of furniture, or maybe her former owner accidentally shut her head in a door. I shudder to think about the pain her injuries must have caused her.

What she lacks in beauty, she makes up for with her wisdom and kindness. She came to live with us in her retirement years, after a lifetime of caring for her elderly owner. She shows her appreciation by gathering gifts at night, leaving them at the foot of my drawing table. It’s so cool to go into the studio in the morning and discover a neat pile of stuffed mice on the exact spot where I stand to paint. Fortunately, she doesn’t have access to live critters, so I don’t have to experience the horror of finding dead mice or snakes.

18

Lesley Spanos — Sun, 22 Jan 2012 15:27:35 +0000

The Superbowl has come to Indianapolis, and to commemorate it, I present my first football painting, ever! I’ve always longed to paint the game, but the NFL is extremely protective of their rights (as they should be), so that’s a line I’ve never crossed. I’m able to take my camera into games, so I have hundreds of tempting references I can’t use. If you’re an artist, you know how frustrating that can be. Finally, this week, I decided I’d go ahead and do a painting, just for me. I think it’s okay as long as I don’t sell it. I hope. NFL lawyers, if I’m wrong, kindly email and I’ll smash it to bits for you.

Number 18 is the Indianapolis Colts’ Peyton Manning, one of the greatest quarterbacks, ever. He’s more than just a sports celebrity to the city of Indianapolis. He’s a civic-minded hero who has done great things for our city. He won’t be playing in the Superbowl on Sunday, but he’s on everyone’s minds as he tries to regain top form after surgery on his neck. We wish you the best, Peyton, and hope to see you around Indy for many years to come.

It’s What I Eat For Breakfast

Lesley Spanos — Tue, 10 Jan 2012 20:41:32 +0000

The idea for painting breakfast comes from Carol Marine’s Paint Your Breakfast Challenge on Daily Paintworks. For me, breakfast is the same every morning: 4% fat cottage cheese mixed with freshly ground flax seed and a variety of oils – flax, hemp, fish, and coconut. I like the stuff, but my husband can barely choke it down, so for his sake we top it with berries.

A few in-progress images archived along the way:

Purchase on Artfire

Cherries and Blue Cheese

Lesley Spanos — Wed, 27 Jul 2011 19:18:24 +0000

This was my lunch a couple of days ago – a small wedge of Castello-Rosenborg Danish Blue Cheese and some ripe cherries. It was a miserably hot day when I took my plate outside to photograph it, which made the cheese get all melty. Mmmm!

These cherries are painted larger than life. Here are some images taken along the way:

By a Nose

Lesley Spanos — Sun, 08 May 2011 01:15:02 +0000

I began this painting on Kentucky Derby day in honor of all horses who run in circles. I didn’t expect it to be a three-day painting! The details really grabbed me.

This painting is available on the Daily Paintworks auction. Auction ends next Monday, and I’m starting it at a low price of $100.

Here are some images taken along the way:

Bid on Auction

Scrambled

Lesley Spanos — Thu, 12 Aug 2010 18:19:19 +0000

Still working on my State Fair series, and loving it! My latest painting in the series is taken from a photo I took last summer of people riding the Scrambler after dark. I love how the guy on the left looks like he’s going to hurl at any moment. I used to feel the same way when I rode those things. That’s why I don’t do it anymore.

Here are some images taken along the way:

I started with a loose marker sketch over a toned background. At this point I thought the guy on the left looked like a caveman in a Geico commercial.

Adding paint as sparingly as possible. My goal was to use the toned ground for the lighter shadows and just hit the middle tones and highlights with paint.

I can’t believe how little paint I put on the left side of the ride car, yet it looks really good. That’s my favorite part of the painting.

Painting the girl’s face made me a little nervous, because I have never done well with teeth and open mouths. Or faces, for that matter. So I pulled from my mind a vision of a work I spent some time memorizing in the Met a few years ago – Degas’ Singer In Green. I just kept telling myself to channel Degas as I layered with dry-brushed acrylic. It actually sort of worked, in the sense that it’s easier to imitate someone when you’re feeling unsure.

Next came the guy on the right. His head was at a tough angle to draw, plus I had to do more teeth. Looks a bit like chef Mario Batali, doesn’t he?

The final stage was about texture and lighting. I wanted to suggest hair on the arms and legs of the guys, so I used a few directional strokes and was pleased with the results.

The darkest darks and lightest lights were added last. And voila, we’re done!

When Ducks Gossip

Lesley Spanos — Sat, 24 Jul 2010 15:46:58 +0000

These little rubber duckies in the Duck Pond game seemed to be sharing secrets.

Carnies look at you a little weird when you photograph their ducks for too long. I’m thinking next time I need to placate them by spending some money on their games.

Here are a few images captured along the way:

Usually I’d tint the entire board a darker color then paint over it, but some of the yellows I use don’t cover dark colors well. To keep my yellows pure and bright, I needed to define the yellow spots early, and paint the dark water around them.

I’m working in layers, building up the transparent yellows gradually. I wish I hadn’t used that dark grey marker for the drawing… it’s really had to cover with paint.

I’m still learning how to paint water. I tried to keep my strokes loose and calligraphic.

The final layers were glazes thinned with medium, used to push the yellows in either a warmer (duck sides) or cooler (duck tops) direction.

Giclee Prints Available on Artfire

The Merry Jester

Lesley Spanos — Sun, 11 Jul 2010 23:25:14 +0000

This is the image that got me interested in doing a State Fair series. I love how the carving sparkles. My favorite time to photograph an outdoor carousel is around sunset. That’s when it comes to life, when it’s just dark enough for the glow of the bulbs to be visible, yet there’s still enough daylight to give it form. This time of day sets me up for a pleasing mix of complementary colors, from the the cool reflected colors of the sky to the warmth of the electric lights.

Here’s a shot taken in the morning:

See how flat and uninteresting the molded carvings look when the light is less than ideal?

Here are some images taken along the way:

After tinting the board with reds, I blocked in the masses with paint instead of drawing lines. Sometimes you just need to dive right in to the paint.

I refined as much of the drawing as I could with the brush before picking up a pen.

The face is the hardest part, so I decided to knock it out first. I would love to know who the artist used as a model. He looks a lot like entertainer/’80s talk show host John Davidson to me.

Acrylics are ideal for paintings like this because they dry quickly, allowing me to draw the intricate carvings directly over the paint minutes after it’s applied. I wouldn’t be able to do that with oils. Because my markers are water soluble, I can wipe off mistakes quickly with a wet paper towel.

The sky looked more like paint than sky, so I redid it. The key to getting a sky you can look through is using a variety of colors. In this case, it was violets, greens, and yellows. Anything but blue.

The bulbs on the carousel have a swirly pattern in the glass, so when I applied the paint I swirled it like the frosting on top of a cupcake. It doesn’t show in the scan, but I like the way it looks in real life.

Adding the final carvings. I’m so glad I chose acrylics for this piece so I could quickly build up these layers. I’m intentionally leaving some areas loose. I usually want my paint to look like paint, suggesting a surface rather than tightly mimicking it.

I thought the carvings at the bottom would be hard, but they were actually kind of fun. It was just a matter of laying in a mid-tone, followed by darks, then highlights.

This one was so much fun, I might need to do it again, larger.

Dogs

Lesley Spanos — Fri, 09 Jul 2010 23:26:51 +0000

It was early morning at the State Fair, and the food vendors were setting up for the day. This brightly colored hot dog booth glowed in the sunlight. My favorite part was the giant graphic hot dog with mustard displayed on the skirt of the booth.

Here are a few shots taken along the way:

Sign backgrounds go on first…

Then the scary part – the lettering. I tried to go slowly, then fixed my mistakes with the background color.

Whew! Adding those final details was a bit nerve-wracking. In an effort to keep from overworking today’s painting, I told myself I couldn’t stop for dinner until this one was done. That provided the incentive I needed to finish quickly. Now I am off to enjoy my reward, grilled chicken and summer squash fresh from the garden.

Hey! Google!

Lesley Spanos — Fri, 21 May 2010 18:27:36 +0000

This month’s Virtual Paintout is in the Czech Republic. Finding a subject was difficult for me, until I came across this guy mugging for the Google Street Views camera. I liked him. Here he is on Street Views:
View Larger Map

I’ve seen collections of images of girls baring their chests for the Google cameras, but haven’t come across that yet while roaming the virtual streets.

Here are a few images taken along the way:

Gran Canaria Highway

Lesley Spanos — Thu, 29 Apr 2010 14:19:55 +0000

This one almost ended up in the dumpster. It’s another piece I started for Bill Guffey’s Virtual Paintout, but things didn’t go the way I planned.

This time we’re on the island of Gran Canaria, one of Spain’s Canary Islands:

View Larger Map

Such a beautiful place! I want to be on that road driving a convertible with the wind whipping my hair.

Here are a few shots taken along the way:

I like the look of taped edges on a gouache, so I began by masking off the margins with clear packing tape. The tape needs to be burnished thoroughly so the pigment won’t bleed through.

Since I can’t draw a straight line, much less paint one (see last painting), I’ve indicated the water line in pencil.

Color is blocked in quickly.

Starting to refine and add some detail.

This was the finished piece when I packed up my paints for the day. It wasn’t working for me, and I was ready to toss it in the trash and chalk it up to experience.

This morning when I came into the studio, that big empty space in the middle was staring at me, and I realized what it needed – a car! Duh! Just because it’s not in the shot doesn’t mean I can’t pull one up from another Street View, right? So I traveled a little further up the virtual highway and found this one:
View Larger Map

I have a hard time drawing cars and it looks a bit wonky, but it improves the composition enough so I don’t hate the painting so much anymore. A few more adjustments, like greying the highway, and it’s done. Yay!

Sedona Morning

Lesley Spanos — Wed, 14 Apr 2010 16:37:50 +0000

What’s that wretched creaking sound? Must be my rusty painting skills! It seems like all my creative focus lately has been on planning paintings, rather than actually painting. But then along comes a good art challenge, and like the challenge whore I am, I can’t help but play along. This one is hosted by Lee Brown on his A Day Not Wasted blog. An artist and photographer himself, Lee is providing some drool-worthy HDR photos that are an absolute pleasure to work from. No dead shadows in his work! Go see his Sedona Sunrise Challenge yourself for some great visual treats, and play along, if you’re so inclined.

This one didn’t exactly fall off the brushes, but at least I finished something. Here are a few photos taken along the way:

Starting with a loose brush sketch over a red ground. When I sketch with a brush, I use an angled flat, which makes good lines as well as filling in large areas quickly. With the paint, I tried to approximate the tone of the deepest shadows.

As the painting progresses, I try to let bits of the red show through. Easier said than done.

Here’s where I wish I’d stopped. I prefer the painting at this stage because it’s looser, warmer, and the values are closer together. But, as usual, I thought it needed to be more finished…

…so I tightened up the details and added more light and contrast. Now it looks more like 10am than sunrise.

I really loved how those twigs in the foreground caught the light in the reference photo, but I was having a devil of a time painting them with a brush, so I scratched them out with an exacto knife. I had to really dig in to get down to clean gesso. It was an okay experiment, but next time I’ll make the lines more “lost and found” rather than continuous, ’cause that’s how twigs catch the light.

Many thanks to Lee Brown for a fun challenge!

Travelin’ Shoes

Lesley Spanos — Wed, 18 Nov 2009 13:26:18 +0000

This Different Strokes airport travelers challenge reminded me of Elvin Biship’s song, “Travelin’ Shoes,” which I put on repeat as I painted. These days the lyric should be, “gotta put on my (easy on easy off no metal shank) travelin’ shoes.” Nothing like some good foot stomping butt swinging music to make the hours fly by in the studio.

I loved the drama of Karin’s high contrast airport photo, but for my purposes it was a bit too dark. I couldn’t see the feet in the shadows, and I was having a hard time imagining what they might look like from that perspective. Also couldn’t see the colors in the darker cast shadows. So I lightened the reference photo in Photoshop.

Here’s a quick explanation of the hows and whys of lightening shadows:

It’s difficult to capture the full range of light and dark in a single photo. If you expose the light parts correctly, the shadows might get get too dark. Expose the shadows so they glow, and the highlights burn out. As an example, I took four photos of plants on my kitchen windowsill.

In the first, the meter reading came from the impatiens on the right. They look okay, but everything else is too light. The coleus leaves on the left are disappearing in a white glare.

The second photo was exposed so the coleus on the left would look good. But now everything else is too dark! We can barely see the impatiens in the shadows.

The third photo uses the camera’s automatic settings, averaging the lights and darks to arrive at something in-between. I’d love to be Goldilocks and be able to say this one is “just right,” but it’s not. The lights are too light, and the darks are too dark. These are some of the same auto-exposure issues I saw in the airport photo.

The fourth was taken with a flash. The colors are much closer to what I was seeing in real life, but the shadows are off because the main light source is from the front. I won’t paint from flash photos anymore, because it’s almost impossible to make the painting look like anything but a copy of a flash photo. Not good, when my goal is to make everything I paint look like it was painted from life.

Ideally, when taking reference photos I bracket the exposures, so I have good shots of both the light and dark areas. If I use a tripod, I can take it a step further and use HDR software to combine multiple images into one. Often that’s not possible, so what do we do when we have only one dark photo to work from? Here’s my quick Photoshop solution:

These are both photo #2, but in the second version I’ve lightened the shadows in Photoshop. This can be done using levels, or with the “lighten shadows” slider. It’s a quick, easy fix that selectively brings light back into the shadows without destroying detail in the lighter areas. This image is the closest to what I saw in real life. Gosh, I really need to scrub down that kitchen wall.

Here’s the same effect used on Karin’s photo:

Lightening the reference made the feet and shadow colors more visible, though I must admit I still had to fake the shape of the feet (and they still don’t look right).

Now, on to the painting. These are a few images I took along the way:

The acrylic underpainting loosely suggests where the light and shadow areas will be.

The sketch began with pastel pencil, so I could easily wipe off my mistakes and start over. I knew I’d be making a LOT of mistakes on this one.

Once the drawing was as good as I could get it, I started reinforcing some of my pastel lines with acrylic paint so I wouldn’t accidentally wipe off all my hard work.

More detail in acrylic. I was going to switch to oils before now because I thought it would be impossible to create a soft transition from light to shadow with acrylics. Not so – my test transition was nicely fuzzy – so I kept going with the acrylics.

I paid special attention to the lower left corner, where several floor sections intersect in the middle of a shadow. Getting the values and colors right in that area were the key to creating the illusion of a shadowed terrazzo floor.

I gave the floor depth by making the speckles in the foreground bigger and brighter, fading them out as they receded into the background. Also it gets bluer as it recedes, just like a landscape.

One of the last details was to give the woman Captain’s stripes on her sleeve. I liked the idea of black heels and power.

Here’s a little Elvin Bishop, if you care to listen to my painting soundtrack:

The View

Lesley Spanos — Wed, 28 Oct 2009 16:58:39 +0000

My answer to Karin Jurick‘s Different Strokes City Rooftops challenge. Thank you, Karin, for another versatile reference photo. The shot was taken from her hotel room in San Francisco, which reminded of Gerry Beckley’s (America) “View From The Hotel” series of photographs. He shoots the view from every hotel on tour, even if it’s just a parking lot, then catalogs everything by date on his website. Very cool. These kind of shots remind me that it’s the more mundane views from our travels that are often the most interesting in retrospect.

This was a fun painting to tackle. Here are a few shots taken along the way:

First I laid down an undercoat of acrylic in greyed purple-ish tones found in one of the buildings in the background. (It’s also the color of my bedroom.) Most of the foreground buildings will be yellow, so setting up a complementary color scheme early will hopefully keep the colors harmonious.

A loose drawing in grey marker went over the top of the acrylic. Even though this won’t be an abstract, I’m looking for shapes that would be pleasing and balanced if abstracted.

These next few shots were taken in the studio at night with little color correction, so they look warmer than they actually are.

Next I start to apply the oil paint with a 1″ slant brush. Usually I try not to premix my paints much, but on this one I am because the colors are so delicate, and the values are so important. I’m even using a value card to get those values right.

Here’s a color I love: Naples yellow! Mixed with titanium white, it’s like creamy sunshine. It makes me happy just looking at it. I don’t use yellow ochre. Though many artists use it successfully, it’s dull and heavy in my hands.

Finally, I get to paint the metal thingies on the roof! I love painting metal. I’ve taken some artistic license and made them shinier than galvanized steel, more like stainless, just ’cause I love painting shiny things

Oopsy, some of those horizontal lines aren’t very horizontal – gotta fix that!

The final piece, shot outdoors and color balanced so it’s as accurate as possible. (Though I was kinda loving the red tones.)

I don’t know what time of day Karin took her photo, but I’ve been trying to portray the pale lemony light of early morning in San Francisco, with a bit of fog hovering in the distance.

If I’d been doing this image purely as a cityscape, I think I would have left off some of the fussier details, like the metal bands (probably an earthquake retrofit) on the building on the right. But in an abstract state of mind, I sought out and emphasized repeating shapes and rhythms, and those bands gave me an opportunity for a nice vertical rhythm. I tried to hit every number between one and six when I chose how many items to put in each group of images. Maybe it’s just me, but I believe this creates a rhythm which is pleasing in a Sesame Street kind of way.

Chocolate, Vanilla, Chocolate

Lesley Spanos — Fri, 11 Sep 2009 20:10:17 +0000

Our Different Strokes From Different Folks challenge subject this week is cupcakes. Now, I love cupcakes, even if I don’t eat them. In fact, I firmly believe that some of the most exciting things happening in the arts these days are taking place in cupcake world. If you want to see what I mean, take a look at one of my favorite blogs, Cupcakes Take The Cake. Such creativity! We painters find it hard to do anything that hasn’t been done before, but the cupcake artists are giddy with exploring new territory every day. Or maybe it’s just a sugar high.

Karin’s reference photo was reminiscent of a Wayne Thiebaud painting. He’s one of my absolute favorite artists of all time, so to try to copy him would be a sacrilege. I’d fall terribly short of my goal and embarrass myself. Like this:

But I had to try. This first attempt was done with a lot of modeling paste in the “frosting.” I thought I could shape it to look like 3-d, but it was a lot harder than I expected. I mean, do I let the frosting cast its own shadows and light the painting just right when it’s done, or do I paint the shadows in in addition to the texture so if the lighting isn’t just right they will still show? I can’t remember how Thiebaud did it. I just know that mine looked lame no matter what I did to it, and it was impossible to photograph the texture.

So, that’s the tosser.

My second attempt was more traditional, with little texture, and shadows painted in. The hardest part was getting all those little confetti quins the right color in both light and shadow.

Here are a few images taken along the way:

Happy one year anniversary to all Strokers!

Stones

Lesley Spanos — Mon, 29 Jun 2009 21:06:11 +0000

I’ve become a Challenge Whore. I’ve taken hundreds of photos I could use as reference, yet I roam the net at night, searching for something different to paint. It’s not that I’m bored with my own photos. It just seems that I get into a rut when I get to choose every subject. Sometimes I need an assignment to force myself to break the mold and learn how to solve new problems. Often the photos posted in these challenges are things I’d never paint in a million years. For example, quaint little country lanes and old stone barns are far outside my personal experience and so NOT ME. So I had to try it.

This challenge was found in the Landscape forum on Wet Canvas. Thanks to the photographer, Yorky, for sharing this photo with the artists.

Here are some images captured along the way:

Since I’m not comfortable with architectural elements, I spent a little extra time on the drawing.

Talk about the “ugly stage”! Diving in with watery gouache and some bright color for the underpainting. Bright yellows and reds work best for me underneath foliage. It keeps the greens looking more natural. All the colors of Fall are always present in foliage. They’re just masked by green chlorophyll. It’s my job to expose them.

See how dull it looks now that I’ve added some greyed greens on top? But the underpainting is still there, influencing the paint in subtle ways.

I actually liked how the bush on the left turned out…

… so why’d I have to go and mess with it some more? That’s the story of my life as an artist – I never know when to stop. Uggh. It was looking so bad so I had to wipe it off with a wet paper towel. That’s the great thing about gouache – you can erase! On the down side, because it remains water soluble you have to work really fast if you want to keep previous layers from lifting. You get only one chance to lay down a good stroke.

The photo reference was taken on an overcast day, but I found myself adding some sunlight.

Fixed the bush, sharpened up the details, and we’re done! Now on to that Lake Michigan rower that Karin posted last week on DSFDF…

Concertgoers

Lesley Spanos — Thu, 25 Jun 2009 18:43:52 +0000

When I saw this beautiful couple at the opening concert of the Symphony On The Prairie season, I knew I had to paint them. In honor of the Grateful Dead theme that night, he wore tie-dye, while she had a ’60s vibe going. Her loose, flowing pants were a colorful floral print (which I didn’t dare attempt in paint). There was color everywhere, yet it all coordinated somehow.

Here are some shots taken along the way:

The drawing done in light grey pen.

Starting to add some transparent color. At this stage I had no idea where I’m going with this one. My light grey lines were already starting to disappear under the paint, so I reinforced them with strokes of red. Cool.

I wondered if I could leave it just like this… but decided to forge on.

I tried to keep as much of the green undertones exposed as possible. For example, the green on his cheek is entirely the green of the underpainting.

The blanket had tons of pattern and color, but I needed to simplify it so it wouldn’t attract all the attention.

Finished!

Here are some detail shots:

My flesh tones usually suck, so I challenged myself to keep the flesh tones fresh and reflective while using a minimum of detail. I reminded myself to use lots of green:

Loved the colors in the chair:

Sweet Georgia Grown

Lesley Spanos — Tue, 16 Jun 2009 18:26:42 +0000

Sometimes the paint flows, and sometimes it doesn’t. This was one of those weeks when the paint was not my friend. When I saw the reference photo on Karin Jurick’s Different Strokes From Different Folks painting challenge, I thought it would be an easy assigment after the complicated Amish farm scene. I thought I could blow through it in three hours or less.

Oh, silly me.

Here are a few images taken along the way:

The drawing in pen. Not worried about being neat, because most of it will be covered with paint eventually.

Starting to put some transparent color down, keeping it sloppy. All the veges get a coat of cad yellow before I layer on the other colors. Reds and greens have a nice glow when painted over yellow.

The colors in the onions looked pretty good in this step.

But I couldn’t keep it fresh as I added more detail. There must be twenty layers of paint on those onions, every one of them an attempt to “fix” the previous layer. Instead of getting better, things got progressively worse as the acrylic paint piled on. I find it hard to mix light colors in acrylics, because they dry so much darker and yellower than they look on the palette. It’s like painting blind because I have to guess how it will look when it’s dry. Oils would have been a better choice.

In the end, I didn’t finish the onions… I simply gave up on them.

The upside is that they have plenty of texture.

I learned a lot about tomatoes. Not having painted tomatoes much, I assumed they were red, but as I worked, I discovered oranges, fushias, and green. Lots of green especially on the stem end.

The corn silks didn’t turn out well (OMG, did you see Karin’s silks? Such flow!), but I was happy with the husks. I barely did anything to them – I spent maybe twenty minutes total – yet they look okay. I love it when that happens.

The finished piece. Or is it? I’m still playing with cropping. Since the corn silks didn’t turn out well, the right side of the painting is dead, so I’ll probably cut it off.

As always, thanks for stopping by for another episode of “As The Paint Turns.”

She Brings Lemonade

Lesley Spanos — Wed, 03 Jun 2009 21:50:56 +0000

She brings lemonade for her man, and water for the horses. Is it any different than when I bring my husband a beer while he’s working on his Jeep on a hot day?

This is another painting for Karin Jurick’s Different Strokes From Different Folks painting challenge. This time we’re in Lancaster County, Pennsylvania. I’ve never been to Lancaster County, but my ancestral roots run deep there. I’m only a couple of generations removed from making quilts instead of paintings.

A few images captured along the way:

My photo of a farmer and horses laid over Karin's photo.

I’ve got to admit that empty landscapes don’t hold my interest. Maybe because I’m a city girl, they seem sad and lonely, like empty stage sets waiting for the actors to bring them to life. That’s not to say that I don’t appreciate other artist’s landscapes – some painters do fabulous things with dirt and sky! I just feel that if I want to enjoy this painting, I need to add some people. Amish people.

I use Photoshop to layer images together so I have only a single reference to work from. I was envisioning a farmer working the fields, and luckily I had photos I’d taken of a man with some horses at the state fair last summer. With a little makeover he might pass for Amish, so I traveled to Google Land to look for tips on clothes, hats, and beards. A lot of their fabrics are blue or purple – I wonder what kind of dye they’re using? Must be a natural plant dye. My guy’s going to get a nice purple shirt, because I love purple.

This time I’m painting on a bright yellow/orange/red background. The yellows will help the transparent greens to glow, and the complementary red and orange will help tone down the greens.

Blocking in the colors. I’m trying hard NOT to cover all that orange. I need some peeking through for interest.

Here I’ve added the Amish women.

The horizontal lines in the field have been changed to sweeping curves to show the woman’s path. Also, I’m hoping it helps show that we’re on a hill.

I don’t know why, but this exhausted me! Nothing seemed to go right, and I really struggled with the horses and the man. By the time I got to painting the landscape details, I realized I was out of time. Karin’s deadline for the DSFDF challenge is in a couple of hours, so I’m calling it done and submitting it. Maybe later I’ll go back and fix a couple of things, like the man’s shirt and hat.

New Mexico Adobe

Lesley Spanos — Mon, 18 May 2009 12:14:50 +0000

I can’t seem to get enough of these art challenges. They so neatly answer the question of “what should I paint next,” while forcing me to explore subjects I wouldn’t normally choose. This painting is my answer to the Wet Canvas Southwest and Western Art forum challenge for May. The photo of an old adobe outside the Acoma Pueblo in New Mexico was kindly provided by Diane Cutter. (Check out Diane’s really cool woodcut of Karin Jurick’s dog Jack! It was completed after the deadline, so it didn’t get posted on the DSFDF blog.)

Here are a few images taken along the way:

I toned the canvas with shades of yellow and red acrylic, then sketched in some rough guidelines with ink.

Here I’ve started painting in oils, keeping with the orange theme. I make a mental note to myself to keep the shadows warm and the light cool.

If you’ve been following my blog, you already know that I’m an indecisive painter. I don’t start with a plan, and I don’t know what looks “right” until I see it. I’m the artist equivalent of the woman who tries on two dozen different outfits (some several times) before choosing one, or moves the living room furniture repeatedly to see what feels right. My paintings have to try on a few looks before I know which one I can live with.

For starters, I’ve tried painting what I saw in the reference photo, a series of white clouds. I liked the sky in the photo, but my version lacks punch. Really, it’s about as interesting as a bag of cotton balls. I paint it out and try…

…a simple cloudless sky. Which is even more boring than the previous version. You’d think it would be easy to do a sky like this, and it probably is for many artists. Not me. Mine has that awful chalky look (in spite of using zinc white), and I can’t get the color right. I wish I had a tube of cerulean blue.

So, in frustration, I paint it out again…

…and slash in the hint of a distant storm. Hey, I like that! It makes the foreground pop. Okay, it’s a keeper.

See that mesa to the right? I like how it turned out, too!

And now it’s gone. I almost wish I hadn’t painted those trees over it. Parts of the mesa where supposed to peek through the leaves, but I got a little heavy handed with the foliage.

Then again, maybe it’s better this way. The composition was a little odd before, with a mesa on either side and a house in the middle. Now it has more of a diagonal flow.

Originally I wanted to paint a couple of saddled horses under the tree to give it that old west look, but I chickened out. I think I’ll just sign it and move on before I ruin it!

Madison Avenue

Lesley Spanos — Thu, 14 May 2009 19:00:46 +0000

Here’s another painting for Karin Jurick’s Different Strokes From Different Folks painting challenge.

View Larger Map

Karen tells us that our location is the corner of Madison Avenue and 39th Street in New York City. This is useful information, because it allows me to look it up in Google Maps using Street View.

I can’t paint from a photo unless I can imagine myself inside the scene, and Google Street View helps me do that. I can see what’s behind me, up, down, on the next block, etc. I can even see that beyond that red awning there’s a McDonald’s in case I want some virtual high octane coffee while I paint. Photos are never as good as being there, but Street View is the next best thing. (BTW, if you haven’t seen it yet, check out Bill Guffey’s Virtual Paintout challenge. They paint – with Google’s blessings – from Google Street Views.)

By looking at the Google map, I can see that we’re facing north, and the time of day is probably – as I’d guessed – morning. That will help me make my color choices. Coincidentally, the Google Street View image looks like it was taken about the same time of day that Karin took her photo.

For comparison, I’ve also included Karin’s original reference photo. It’s the same scene, the same size, yet see how different these two images are? Photos DO lie! Always. Neither of these photos is completely accurate. The Google image was taken with a series of wide angle lenses, creating all sorts of distortion and making distances appear much longer than they really are. My guess is that Karin’s was taken with a bit of a telephoto, compressing distances unnaturally. The truth can be found somewhere between these two images.

If I had time, I could try to correct the distortion by drawing the buildings using perspective. But I’m in a rush, and more attracted to the cars than the skyline (I like colorful shiny things!), so I’ll focus just on the lower right corner of the reference for my painting.

Here are a few photos I took along the way:

Hmmm… what color to tone the background? Well, the tail lights are my favorite part of this photo, so let’s try “tail light color.”

The background toning is acrylic. From here on out, I’ll be using oils. I didn’t want to get too fussy, so I’m drawing directly on the panel with a brush and Mars Black oil color.

(Note: The next few in-progress images are were taken in the studio with a camera at night, and I didn’t take the time to color correct them well. Too much red, too little blue.)

The painting progresses, and I can’t make up my mind about the figure on the street corner…

A woman striking a “casual” pose?

A businessman on his way to work?

An indistinct cluster of people?

Yeah, I think I’ll go with that last one.

This final image was done on the scanner and color-corrected so it’s truer to the original painting.

Boogie Fever, Part One

Lesley Spanos — Fri, 27 Mar 2009 18:38:53 +0000

I’ve long admired artist Karin Jurick’s paintings of people relaxing on the beach, so how cool is it to get to paint from one of her beach photos, with her blessing? That was our assignment for weeks 27-28 on Karin’s Different Strokes From Different Folks online painting challenge.

It’s mega cool, yes, but also intimidating. If there was one contemporary I wish I could paint like, it’s Karin. Her colors are rich and pleasing, like comfort food for the eyes. Her brushstrokes have that confident, casual look I long for in my own work. Her narrative demonstrates a keen sense of observation and a quirky sense of humor which takes a pretty picture to the next level and makes it Art. She’s building a solid body of work, and I fully expect her work will hang on museum walls some day. Man oh man, why didn’t I buy something when her paintings first showed up on eBay, when they were more affordable?

Because I like Karin’s work so much, I have to dig deep each time I participate in her challenge to find myself. The last thing I want to do on her blog is a cheap imitation of her work, from her photo! I think it’s a dilemma most of the participating artists share. It’s like being a contestant on American Idol, trying to put your own spin on an iconic song. It’s damn hard, but if you can pull it off, you’re a better artist for it. Even if you can’t pull it off, you’re still a better artist for it, because you were true to yourself. That’s a big reason why I keep doing these challenges – it forces me to listen to my own voice.

That, and it makes me stretch my abilities by painting stuff I normally wouldn’t paint. Like those people on the beach – I love to paint surf, but I have never included a person in a seascape. Never! So it’s Challenge Time!

Here are a few shots I took along the way:

The painting begins with a waterproof pen drawing on paper.

This time I toned the paper after doing the drawing, using transparent washes of acrylic paint. Why? I dunno. Just felt like it.

The rest of the painting was done using M. Graham gouache. My palette consisted of:

burnt umber
phthalo blue
ultramarine blue
dioxazine purple
cadmium red
quinacridone rose
cadmium yellow light
zinc white
titanium white

Oils might have been easier and more effective, but I needed a good workout in gouache. Gouache is tricky, because you need to work quickly, and you can’t put on too many layers before it turns to mud.

Waves are well within my comfort zone. People aren’t! So the beach background fell off the paintbrushes effortlessly, and within twenty minutes, it was done. Then I spent the next two hours struggling with the figures.

Having painted a few waves in my lifetime, I think the main thing I need to keep reminding myself is to let them flow. Because when you let the paint do its thing, all sorts of happy accidents happen that make it look more convincing. Labor over a wave for hours, and it looks contrived, like those frozen in time paintings of waves where every little droplet is defined. (You know the ones I mean… usually there’s light shining through the wave right where it’s starting to break.) I like to paint waves as I see them, churning and violent and random. Today’s waves started as dark humps with lots of brown mixed in, because they’re dirty with sand. Then I made a pass with a lighter color, using a circular, rolling motion to imitate the motion of the breaking wave. The cool thing about gouache is that it remains water soluble even after it dries, so as I painted the undercolor was picked up by the lighter paint, mixing with it and creating multiple tones in between. I finished the wave with a pass of thicker white mixed with a tiny bit of red. The red makes the white pop against the complementary blue-greens of the water.

That’s me smiling at my favorite happy accident in the painting.

Starting to mess with the figures (and yes, they are a mess)…

…and the (butt) end result. I’m not really happy with the figures, or with my gouache technique here. I didn’t know what colors to use or how to define the planes on a human body with paint so I fussed with them too much. Gouache strokes should look confident. Lay them down once, and move on! Mine are unsure. You can see me searching for the right answer. That’s why I need to practice in gouache a LOT more.

But there are some things happening here that make me happy. I like the bits of underpainting showing through, and I wish there were more of them. I like the looseness of the sky and the rough indication of clouds. I like the lack of hard edges around the figures, though I could have used a few hard edges here and there. I like the girl’s hair, another happy accident.

The foreground is a big part of the painting and it needed something to define it and bring it forward… so I added sand texture and pebbles. I flicked some light color on with a brush, then added burnt umber shadows to each speck. Fun.

What color is wet sand? Well, it’s darker than dry sand, and reflects a LOT of sky color. The wetter it is, the more sky it reflects. So I guess sand is a dirty brown mixture of sea color and sky color.

Here’s the finished piece. I was getting ready to send it in to Karin, but I have a few free hours to paint today (after I subtract Earth Hour), and there are more figures in the reference photo calling to me. I could just stop here, but in my head I hear Thelma’s last words to Louise – “Let’s keep goin’!” I’m thinking it’s diptych, or even triptych time!

Kalifornia Roll

Lesley Spanos — Fri, 13 Mar 2009 18:53:35 +0000

A California roll is to sushi what Tex-Mex food is to Mexican cuisine – a Western adaptation of a traditional food using local ingredients more suited to the American palate. You can find them in shopping malls and supermarkets throughout the US.

The California roll is an inside-out roll (Uramaki), with the rice on the outside, because it was thought that non-sushi-loving Americans would balk at the sight of nori (seaweed) on the outside. Inside is avocado, cucumber strips, and some really gross fake crab (Krab) made from molded cooked fish paste. There are many variations of the basic California roll. Some include mayo, cream cheese, and other stomach-churning ingredients. I’ve had them with crab salad inside (real crab, even!), and while the concept grossed me out, they were actually much better than I expected. (The key is to think of it as an hors d’oeuvre rather than sushi.) Some rolls are sprinkled with sesame seeds or fish roe (Tobiko), while others are served plain.

I did the painting as part of Karin Jurick’s Different Strokes From Different Folks web challenge. If you go here, you can see the original reference photo for this challenge, as well as the other artist’s interpretations.

I love being part of this challenge, but I almost didn’t do this one because it was such a difficult photo for me. Here are some of the issues I had with it:

There are few shadows to define the form, and I rely on shadows a lot in my painting.
There is fish roe on the rolls. I don’t do fish roe of any kind. Can’t even look at it without my stomach doing flip flops, due to a bad New Year’s Eve experience with some caviar a few years ago.
The rolls are drenched in shoyu.

I decided the only way for me to do this painting was to gather some of my own visual information, and combine it with Karin’s photo. I needed to see what color the rice would be without the shoyu, and where the shadows would fall if I changed the lighting. I make simple “mom” style sushi rolls at home, and we had some leftover rice in the rice cooker, so I made a quick mock-up using only rice. The rice wasn’t properly prepared for sushi, so I added a bit of rice vinegar and nuked it to make it stickier. Fortunately, it didn’t have to taste good. All I needed was a “blank” so I could add the characteristics of Karin’s sushi on top of it.

I arranged the pieces like the ones in Karin’s photo, and played with the light and the arrangement of the other elements. Here’s my final choice:

I wish I’d moved the wasabi out of the shadow, maybe to the upper right corner.

I used a 12 x 9″ gessoed masonite panel. To tone the surface, I used several thin layers of acrylic paint, separated by clear Atelier binder medium, and finished with a top coat of binder mediun. You can’t really see it in the photos, but the layering gave it a tortoise shell-like surface with lots of depth. I almost didn’t want to cover it, and promised myself that I’d leave as much exposed as possible.

The drawing was laid in using a permanent black pen. Mistakes on binder medium can be erased with a cotton swab moistened with rubbing alcohol.

Then I began painting in oils, using lots of red in the rice to prep it for the reflected greens from the plate.

Just feeling my way around here, trying to figure out the colors. The aqua of the plate was particularly hard for me, but eventually I realized it needed to be dirtier and more yellow.

I tried to stay as true to the original photo as possible when painting the sushi. Everything else is mine, but I wanted those to be Karin’s sushi… minus the shoyu and roe. Because the Krab and avocado in the reference were brown from the soy sauce, I had to create those colors from memory. In the end, I felt the greatest sense of accomplishment from painting those two ingredients.

I kept the plate and mock sushi in front of me, and ended up painting more from life than from the photo. So much subtle color is lost in a photo!

For once I remembered to leave space around the edges for the frame. If I hadn’t, that shoyu dish at the top probably would have been cut off. I want that dish almost kissing the edge of the painting, which probably breaks someone’s rules of composition.

Here’s the finished piece, with the edges cropped as they might be by a frame. The final touch was a drop of shoyu on the plate as a tribute to the original photo.

I’ve dubbed this a “Kalifornia Roll” because it’s filled with Krab.

The Girls

Lesley Spanos — Tue, 03 Mar 2009 16:32:35 +0000

I can’t say that “Sex and the City” has ever been one of my favorite television shows. I’ve laughed at times – sometimes really hard – when I’ve stumbled across it, but it’s not anything I’ve ever gone out of my way to see. It’s hard for me to relate to characters who obsess over shoes and clothes. Though I can understand a good, healthy obsession with sex.

So I’m surprised at myself for painting a tribute to Sex and the City. The source of inspiration was a photo of a wig shop window taken by artist Karin Jurick, posted on her Different Strokes From Different Folks challenge. It’s a very cool image, with many stylized wig heads to choose from. My first thought was a take on the Rolling Stones “Some Girls” album cover, but then I noticed these four “girls” grouped together, and from that point on all I could see was Samantha, Carrie, Charlotte, and Miranda. (I had to look those names up on Wikipedia.) I searched the web for photos of the actresses, because the only face ingrained in my memory is Sarah Jessica Parker’s.

Here are some photos taken along the way. Please excuse the poor image quality and uneven lighting, as I was shooting in the studio at night.

This surface is a little unusual for me. It’s a piece of birch plywood I stained with a wash of orange acrylic, then sealed with several coats of Atelier Binder medium. I like this stuff, because it provides good adhesion for the paint, and dries crystal clear. Think of it as a clear primer. The way the paint feels when it glides onto this surface is wonderful – sort of buttery and silky at the same time.

The drawing was inked in roughly using a waterproof pen. I’m reminded once again that I should take more time to get the drawing right, because there were a few problems I could have avoided if I had.

The hair seemed like a good place to start establishing the characters. Kim Cattrall’s ‘do came from a red carpet photo rather than the TV series. For a wig, the height and Marilyn Monroe sweep seemed more appropriate than her straighter TV hair. It doesn’t look like her character, but it’s my favorite head in the painting.

Carrie’s hair wasn’t supposed to be green (I got some black paint in my yellow), but I liked it, so I left it that way. It fit with the look I was going for, a mix of reality and caricature.

How’d Courtney Love get in there?

Okay, I’ll just paint out Courtney’s face and hope to simply suggest Miranda with a blank wig head. Not a bad solution, because my heads were looking too human, and I want some of them to look wiggy.

If it’s not one thing, it’s another. Now Charlotte has morphed into Lisa Ling…

…but it’s nothing a big pair of sunglasses won’t (mostly) hide.

I left the background as is, just the stained/sealed wood surface. I love the look of the paint next to the wood grain.

And so we end another painting adventure. Thanks for stopping by!

P.S. It’s just occured to me that I have painted characters who idolize fashion with no bodies for their clothes, and no feet for their shoes. No, my girls are all brains and witty dialogue!

Chocolate Mousse Heart Cake

Lesley Spanos — Wed, 25 Feb 2009 17:26:21 +0000

So for Valentine’s Day, I watched my husband eat cake. We searched several bakeries to find just the right cake. Something oooey-goooey and yummy for him (chocolate, of course), and something visually delightful for me to paint. Don’t pity me – we also found a great deal on a couple of small lobster tails for Valentine’s dinner. The hubby grilled them. OMG, they were amazing, and such a beautiful red-orange color!

Here are some shots I took along the way:

Eventually I’ll get around to painting the whole cake, but for now I decided to start with a slice so the chocolate mousse filling – yet another interesting element – would be exposed.

This is the first time I’ve used Ampersand Gessobord (note spelling – no “a” in “bord”), and it was a little different than painting on canvas. I had to fight the acrylic underpainting to get it to go on evenly, but overall, I was pleased. Any problems I have with it are just a matter of inexperience. Because it’s smooth, this stuff will be better than canvas for reproductions. Nothing screams “reproduction” louder than a canvas weave printed on flat paper.

I’m really enjoying my new tube of M. Graham Terra Rosa. It works great for painting the red-toned chocolate frosting and cake. What I’m sorely missing in my palette is a good cool red or magenta so I can mix a nice magenta-pink color for the berries.

Here’s most of the painting blocked in, with details just starting to take shape. The blackberry in the foreground was starting to look really sumptuous at this point, like it’s bursting with sweet juice. I wish I’d added just a tiny bit more detail and stopped there.

But did I? Noooo! Of course not! I ignored the nice suggestions made after my last post, and worked it until the paint was exhausted and screaming for mercy. The direction the painting was going was definitely “worse” rather than “better,” so I decided to call it done and post it. That’s the “finished” piece, up above.

As I wrote this post, I found myself whining about how the blackberry in the foreground didn’t look as good as it did in the last stage. That berry really bothered me. It was all I could see. It’s always like that for me – if I paint twenty things right, it’s the one wrong thing that grabs 100% of my attention. “Why whine?” I asked myself. “Just fix it!”

So I grabbed it off the drying rack and blacked out both berries before I lost my nerve:

Once I did that, the whole balance of the painting changed for the better. The top berry receded into the background more, and the foreground berry no longer competed for attention with the chocolate frosting. The composition didn’t look as jumbled because I’d made the primary and secondary elements more clear.

In the end, the trick was in putting on just enough detail to make black holes look like berries, without ending up with the same too-detailed- too-light berries I painted before. I redid them a couple more times, and learned a little something each time. I made a conscious effort to keep the colors dark, and use as few brushstrokes as possible. I’m satisfied now.

Thanks for stopping by and reading my ramblings!

Giclee Available on Artfire

Harley-Davidson Heritage Softail

Lesley Spanos — Thu, 19 Feb 2009 19:23:01 +0000

Fortunately I had my camera with me the day I saw this Harley in a parking lot at the Indiana State Fair. I’m not a motorcycle person, but this thing was a work of art. It was gorgeous. The chrome was blindingly shiny, reflecting sky and clouds and earth. The painting is small, only 9 x 12″, but I’m imagining how cool it would look painted life-size or a little bigger.

Painting chrome is new to me, so I fussed with it a lot and was never was completely satisfied. I’m starting to understand it better though. Next time I need to be bolder with the strokes, and think of them as abstract squiggles.

Here are some shots I took along the way:

The canvas was toned with a sloppy mix of acrylics using a big brush. I suppose I should make a better drawing right from the start, but usually I just begin painting with minimal pencil guidelines and refine as I go with paint. But really… that wheel is pathetic, and if I’d started with a good wheel, I could have saved an hour of “refining.”

There’s one part of this painting I love – the background! I made a few pastel color mixtures, thinning the paint a lot, then slopped it on casually. It’s loose and colorful, but not so much that it detracts from the bike.

Finally the big shapes were in place and the wheel was looking less wonky, so I was able to start adding details.

The final step was all about making the chrome “pop” by adding the final darkest darks and lightest lights.

I could probably keep torturing this one for hours, but I think I’ll call it done and get back to painting some desserts. Probably something chocolate. I have a new tube of a color called Terra Rosa sitting here, and it almost looks like chocolate right out of the tube. Can’t wait to try it!

Chocolate Caramel Lava Cake

Lesley Spanos — Fri, 13 Feb 2009 14:14:59 +0000

The hubby has fully embraced the idea of me painting desserts and him eating them. Thanks to his enthusiastic purchases, I already have hundreds of dessert photos and a backlog of subjects awaiting me! There was this chocolate caramel lava cake he brought home last week, followed by an individual heart cake dipped in white chocolate and swirled with dark chocolate. Then there was the decadent chocolate mousse multi-serving heart-shaped layer cake we both picked out on Valentine’s Day. It had some pretty glazed berries on top that caught the light beautifully, so I’m really looking forward to painting that one sometime this week.

As always, here are some shots taken along the way:

The canvas, toned with acrylics. I toned a handful of these a couple of weeks ago, which is why all the recent ones have been pretty much the same color. This one’s a little dark. I find I like them best when they’re a couple of steps lighter than my darkest shadow color.

The drawing is done with waterproof ink, directly on the canvas.

That bit of caramel on the top was a PITA to do, but I learned a lot and next time it will be easier. What I wasn’t getting at first is that it’s a little translucent, and a tiny bit of light shines through it.

Because the underpainting was too dark, I had to scrub in a halo of light around the cake so it wouldn’t be lost in the background.

This was my first fork. Yes, I was a virgin, but now that I have forked, I must admit that I liked it! It was much less painful than I thought it would be. Just a matter of observing the colors and painting what I saw.

I’ve also been forced to scrub a haze of lighter color on the foreground.

Note to self: Next time make the underpainting lighter!

Added some highlights, and we’re done! It actually looks much better in person than it does in a photo. We’re going to keep this one – I promised it to the hubby for Valentine’s Day.

Tiramisu

Lesley Spanos — Tue, 10 Feb 2009 15:00:11 +0000

My husband tells me he’s “on board 100%” with the idea of me painting more desserts. He gets to eat them, I get to photograph and paint them. Years ago, it would have driven me insane to look at something like this and not eat it, but now I find I really am over sugar.

So for our latest effort he brought home this Tiramisu. As Tiramisu goes, it wasn’t the most attractive, but he said it tasted great.

Here are some images taken along the way:

Once again, I started with an acrylic underpainting on one of my homemade 5 x 5″ canvas panels. I could buy panels, but they’d cost more and I wouldn’t have the same kind of control I have with these. If I make them myself, I can make any size I want, and I know exactly what kind of materials were used.

The drawing is done in ink, and the Tiramisu is painted in oils.

I thought the chocolate-covered coffee bean would be the hardest part, but also the most gratifying if I could get it right. It turns out the coffee bean was easy. It was the whipped cream that was hard! I fussed with it quite a bit before deciding I’d done as much as I could with it.

Looking back, I think maybe I should have rounded the cake pieces so they looked more like the biscuits traditionally used, rather than sharp-edged cut strips of cake our bakery used as a shortcut. Sometimes I follow the photo too closely and forget that it’s my painting, and I can build my painted Tiramisu any way I want.

I’m enjoying these little desserts so much, I’m already planning a series of them so I can group a couple dozen of them together on a poster. My only worry is that my husband will gain 20 lbs if I keep painting this stuff.

Pastry #1

Lesley Spanos — Fri, 06 Feb 2009 15:48:46 +0000

After the problems I had with the last painting, I needed a small victory, so I pulled out some photos I took over the weekend.

This is a chocolate almond pastry my husband had for dessert on Sunday. I don’t eat sugar, so I sent him to the bakery with a request to get something pretty enough to paint.

Can’t go wrong with chocolate, right? Sunday was our own self-declared holiday, “Decadence Day,” and I wanted him to have something really yummy. To other Americans, it’s Superbowl Sunday, but our team was out of the playoffs early this year so we didn’t have anything to celebrate on the football front. I think there should be a national Decadence Day. Especially in our troubled times, there should be one day a year when we do nothing but pamper ourselves, a day of pure self-indulgence with no worries about buying gifts or handing out candy. Just sleep late. Eat chocolate. Trade massages. Enjoy life!

Here are some photos I took along the way. One thing I should mention is that I’m just getting back into oil painting after a long absence, so I’m still feeling my way through the process. My way isn’t neccessarily the “right” way. It’s just how I manged to muddle through it.

Once again, I started with a canvas toned with acrylic paint in big, loose strokes, then drew a rough outline in ink. I tried to make it a chocolaty color.

Then I started painting the cherry and gold disk with oils.

Painting that gold disk was on was tons of fun! I think painting metal is like painting water – you just have to blur your eyes a bit and paint what you see.

In the house painting I just finished, I felt like I covered too much of the underpainting, so my goal this time was to leave as much of it exposed as possible. I didn’t thin the paint much until the end. At this phase I was still scrubbing tiny bits of thick paint into the canvas with a stiff brush, feathering out the edges so my underpainting showed through.

The thinned paint came at the end, when I was adding the chocolate and cherry drizzles. There was also confectioners sugar on the original pastry, but I chickened out when it came to adding it to my painting. At this point, I like what I’ve done, and I’m afraid of ruining it!

Once again, I think I might have overworked it a bit, but I’m still pleased with it. No struggles, no feelings of inadequacy. I breezed right through it, maybe two hours, tops. That doesn’t happen often, so I have to savor it when it does!

I popped it into a chunky gold frame. I like how the gold of the frame is duller than the “gold” I painted. It makes it look a little more “real” somehow.

Confession:
I did eat one decadent forkful of this dessert. It’s the first processed sugar I’ve had in about three years. I thought it was be amazing, but it was just way too sweet!

Night

Lesley Spanos — Tue, 27 Jan 2009 19:52:57 +0000

Painting is a journey. Sometimes a really bad one where everything goes wrong, and you end up hauling your dead grandmother around on the top of your car like Chevy Chase in a National Lampoon Family Vacation movie. The only positive thing I can say about this particular art journey is that no grandmothers died in the process.

What’s ironic here is that Karin’s message to the artist’s this week was about how we’re often our own worst critics. We think that perfectly good paintings suck, while other paintings we hate are sometimes our most popular images. I usually feel I’m pretty good at knowing when a painting sucks, and this one REALLY did. At least, I’m pretty sure it did.

Here are a few shots taken along the way:

The underpainting was done loosely with acrylics and a big brush. Then I did the drawing in pen, and started the house and sky in oils. I liked the underpainting so much I almost didn’t want to draw on it.

At this point, I LOVED this painting! Absolutely loved it. Even my husband gave it an enthusiastic, “WOW! That is SO cool!” as he walked in the door from work. I was sure it would be one of my best, ever.

Here some color has been scrubbed on to the house. I’m keeping it as thin as possible so the underpainting shows throught. Still loving it. Maybe I’ll make those swirls in the foreground into a twisted tree!

Hmmm…. I’m not loving what is happening to the shadows on the house. So I pack on a little more paint… and make it worse as I lose the underpainting under the thick pigment…

Okay, that’s a little better. I saved it from a small disaster and I’m not ready to throw it across the room just yet.

Oh, no! Why did I do that? I covered up the rest of the underpainting with the street, and lost the vitality that was happening there! I’m also not loving that tall shrub on the left. It’s so… dark. And green. The worse it gets, the more paint I have to slap on to correct it, and that makes it worse still.

Maybe the streetlight will help brighten that dark hole of a space where the bush is…

Um…

Yeah, I guess it did brighten that area, but I don’t like it. I now have three light sources competing for attention, and my eye doesn’t know where to look first. The painting has become very busy, a jumbled mess of elements.

I give up! This one is toast! Bye, bye, ugliness. I’m going to do another one, this time in daylight, like the reference. That way I can just “copy” the reference photo without making any big changes, and breeze right through it.

I won’t bore you with the gory details, but I got this far, and decided to toss it. I’m reminded of sticks of butter capped by Pepto Bismol. Yuck, yuck, yuck.

And why does my tower always insist on leaning? I try so hard to keep it vertical, yet not matter what I do, it leans to the right.

By now it’s Wednesday afternoon, and the deadline to submit this to Karin’s blog is tonight. In desperation, I turn back to the original painting, thinking if I just crop it, I might be able to salvage something by getting rid of one of those light sources. Cropping is easy, because I haven’t mounted the paper to the panel yet.

Maybe this:

Or this:

Hmmm…

I actually like both of those! Maybe the individual elements didn’t suck as much as the jumbled whole.

Maybe I will still crop it so I’ll have something to sell, but for now, I need to get something sent to Karin ASAP. So, after much indecision, I’m going with the original version. Which is like going on a two week vacation and returning home exhausted, poorer, but a little wiser. And that’s what painting is about, right? Learning a little something every time so that the next one will be better.

(Cue Lindsay Buckingham “Holiday Road.” God, I love this song! Did you see Linday’s recent solo tour? He’s still got it!)

Oh, My Darlin’

Lesley Spanos — Fri, 23 Jan 2009 21:55:57 +0000

It’s that time again – Virtual Sketch Date time! I had an awesome time with last month’s challenge, so here we are again. This month’s reference photo was provided by Jeanette Jobson. The image was huge and full of detailm which makes it so much easier to paint. Thank you, Jeanette!

I don’t recall painting peeled citrus before. When I saw the reference, thoughts of Carol Marine’s drool-worthy citrus paintings immediately came to mind. I love the way she depicts the light shining through citrus. While I can’t come close to painting as well as she does, I chose to make the translucency of the fruit my top priority.

Here are some photos I took along the way:

The canvas was toned with loosely applied acrylics in pthalo blue, burnt umber, and naphthol red. Warm colors in the foreground, cool colors in the background. After the background was dry, I switched to oils to paint the orange.

I’ve never painted an unpeeled orange before, so I was tentative in applying the paint, trying to discover the “right” color mixes as I went along.

It didn’t take long to get to this point – maybe twenty minutes?

Added some “stringy thingies” and adjusted the color on the pith a bit.

I was going to add some color to the surface the orange is sitting on, but on second thought, I think I’ll leave it as is.

Changed my mind about the table surface. Decided instead to paint it to match the frame I’m going to use.

A little more work on the details and edges – some sharper, some more blurred – and I’m ready to call it done!

Here it is in the frame:

This will be available on Boundless Gallery tomorrow.

Jefferson Memorial After Dark

Lesley Spanos — Mon, 12 Jan 2009 17:54:45 +0000

Yet another painting from Karin Jurik’s excellent “Different Strokes From Different Folks” challenge.

I’ve never been to the Jefferson Memorial, and the reference photo didn’t offer a lot of information, so I had to do a little research on this one so I could understand what I was seeing. I couldn’t tell if we were on the water side, or the land side. Knowing this was important because I wanted to brighten the dark foreground area with reflections, and I needed to know what kind of reflections to paint.

First, I pulled up the satellite image on Google Earth and calculated where Karin stood to take the photo. Okay, it looks like she was facing northeast, perhaps standing in the drive or just to the west of it. That helped me to determine that we are probably looking at an asphalt drive, cement sidewalk, and lawn in the foreground.

Here’s where it gets really anal: Early on, I was thinking about putting stars in the sky, so I switched to the Google star charts, because I wouldn’t want the wrong stars in the sky. This is a well-known monument, and there are people who would appreciate that kind of detail. Eventually I nixed this idea and went for a looser look. Still, I like knowing Cassiopeia is there somewhere. Some people can copy the colors and shapes they see in a photo and create a great painting, but I need to be able to put myself in that location in my mind and paint from “life.” I need to feel the night air on my face and know where the North Star is, even if I don’t paint it.

Next I started studying photos and reading about the monument. I figured out why the light on the dome looks the way it does, almost like flourescent rings. (The lights focused on the dome are behind short “walls.”) I learned that the tree I’m painting is probably a cherry. I stopped before I got too carried away with what was happening on the interior of the building.

Here are some photos I took during the painting process:

I started with a blueish-blackish-reddish background, and left much of it exposed. Like Karen said, it’s best to work from dark to light when doing nocturnes.

I thought I’d keep the sky smooth and add some stars, but that wasn’t working. It was so boring. So I repainted the sky wet-in-wet using all the colors used in the painting, and kicked up the reds a bit in the rest of the painting to tie it all together.

Oils would have been more suited for this because I could have blended more, but I opted for acrylics so I could frame it right away and put it up for sale.

The final step was to add a couple of people on the sidewalk, something I had to re-do four times before they finally looked human. Sort of.

Last month I ordered a box of chunky little frames with 5″ openings. Here’s how this painting looks in a couple of them:

When I offer this on Boundless Gallery I’ll let the buyer choose the one they like.

DSFDF in the news:

In just a few short months, “Different Strokes From Different Folks” has already become quite a phenomenon! Check out page 83 of this month’s issue of Southwest Art magazine for a blurb about it. Kudos to Karin Jurick and all the artists who have made it so special.

Mystery Artist

Lesley Spanos — Fri, 26 Dec 2008 19:27:08 +0000

“?”
Acrylic on Raymar canvas panel, 9 x 12″

Who is this lovely mystery woman with the bright smile? As I write this, I don’t yet know. I was paired with her through the luck of the draw. Artist Karin Jurik came up with a fun year-end challenge on her Different Strokes From Different Folks blog. One-hundred and thirty artists sent her photos of themselves, and she paired each of us with a partner to paint. So while I’m painting this artist from her photo, she’s painting me from mine. In the end we’ll find out each others identity and perhaps trade the portraits.

My apologies to the Mystery Artist! I captured a little of your sparkle, but I didn’t manage to capture your look.

UPDATE, December 31: Now the mystery artist has a name: Sally Tharp! I’ve admired her art on her blog before. So nice to put a personality and name with the face. Check out her gorgeous portrait of me on her blog. She had a tough photo of me to work from, with lots of shadows, but she did amazing things with it. Her use of light and color really blew me away! It’s like me, only better.

Here are a few in-progress images:

Sketched directly on the canvas with ink.

Next an underpainting in acrylic is added. I went heavy on the green so it would contrast with the skin tones:

The underpainting is done. If I knew this person wouldn’t mind it as is, I might be tempted to leave it like this. But not everyone likes having a green face! So I forge on, now switching to oils:

Hmm, that green t-shirt and yellow background aren’t working for me. Let’s change them:

Much better! (BTW, I didn’t realize until later that I was wearing a purple t-shirt when I painted this.)

The reference photo was taken with a flash, so there were no shadows. You can always tell when someone has painted from a flash photo, so I struggled to make it more portrait-like by shadowing the face.

I had all my colors turned up to 11 on this one, and I’m thinking now that maybe the red was too much.

Done!

But is any painting ever really done? There are things I would change if I lived on a deserted island and had only that one painting and all the time in the world to refine it. But I don’t. I have to take what I can learn from each project, and move on to the next challenge.

Gogh All the Way

Lesley Spanos — Fri, 12 Dec 2008 16:47:07 +0000

“Gogh All The Way”
12 x 9 oil painting on Raymar canvas panel

When I saw Karin Jurick’s photo for this week’s Different Strokes challenge, I saw a modern version of Vincent van Gogh’s “A Pair of Shoes.” It can’t be a coincidence that they were so similar to the boots he painted in 1885, right down to the odd horizontal composition. Can it?

"A Pair Of Shoes" by Vincent Van Gogh c. 1885. Public domain image.

So I thought – with a nod to Eric Carmen - if I’m going to paint this image , “please, let’s Gogh all the way!” As you can tell from my last post, I’ve been on a Vincent kick lately. Copying famous artists wasn’t part of my art education, so I’m filling in that gap now.

I love boots! Putting all the nasty things like global warming, economic crisis, and torturous high heels aside, aren’t we lucky to be alive right now? Our feet are so pampered in our modern work boots. We have a nice padded collar and tongue, stiff ankle support, a steel shank, and a protective toe, not to mention the modern miracle of our time, wicking socks! I don’t think I’d last the morning in van Gogh’s floppy, ill-fitting boots.

Ever notice how van Gogh’s shoe and boot paintings are among his most somber? Perhaps when he was stuck indoors with nothing to paint but shoes he was at his unhappiest. No sad boots for me! I expressed my boot-love with a cheerier palette.

Lately I’ve been getting too tense and tight when I paint, so I made myself dive in without a sketch or even any real plan. I turned on some music (the Raspberries, even) and danced with the paint while wearing my new snow boots. OMG, they are so comfy! I think I will end up wearing them in the house more than outside.

Here’s how the painting went, from start to finish:

Notice how the perspective is off? I did that intentionally, because van Gogh’s perspective was usually twisted. It drove me a little nuts, though.

Winter Corn

Lesley Spanos — Tue, 09 Dec 2008 13:19:15 +0000

“Winter Corn”
Oil painting on panel, 10 x 8″
A farm in Lehigh Valley, Pennsylvania

Ever start something one way, just to have it turn into something entirely different? That’s what happened with this painting. It meandered into something else of its own accord, and I just went along for the ride.

I’ve noticed while browsing the blogs of Different Strokes artists that some also do another event called Virtual Sketch Date. It’s similar to Different Strokes: An image is posted, and artists have a week to create their interpretation of it. I hope the VSD folks don’t mind me dropping in! I also hope I’m doing this right and didn’t take too much artistic license with the photo. If you want to see the reference image and all the cool art that was created from it, check out the site here.

This is how the painting began. I started with an orange-ish ground, so I could lay down the snow in the field first, then scratch out the corn stalks. Plus I like the warmth of an orange ground peeking through cold snow.

I worked on it for an hour or so, but the more I painted, the more it didn’t look like me. It looked like a bad copy of a Thomas Kinkade painting, all goopy and sentimental and nostalgic, like a glitter-dusted Christmas card my grandmother would love. But as much as I hated it, I was going to leave it alone and post it, because they can’t all be winners, right?

Well, the next day, I couldn’t stand looking at it. “It’s already a mess, so I’ll just declare it a total loss and play with it.” Feeling a lot less pressure than before, I started stabbing at the canvas with a bristle filbert and lots more paint than I usually use. I’ve had Van Gogh on my mind lately and it was looking a little Van Gogh-ish, so I expanded on that theme. I know there will be people who prefer the first version, but I’m much happier with this one.

Here’s the painting earlier in the process during the second session. I’m not sure if it’s night or day in my scene. My light got a little confused, but the painting is really pretty the way it is, and I’ll take pretty over accurate any day.

Since I piled on a lot more paint than I usually do, I’m not sure how long it will have to dry before I can ship it. It will be available on Boundless Gallery when it’s ready for $125 with free shipping in the US. (International shipping at actual rates.) If you think you might be interested email me using the Contact form and I’ll let you know when it’s posted for sale.