Let’s face it: oil paint is really expensive. There’s just no getting around it. Last week, I spent over $20 on a single small tube of cadmium yellow. Roughly multiply that cost for all the other colors in my palette and over time, that really adds up. Recently, I decided to finally build an airtight […]
I recently finished the eighth deity portrait in my Norse series, “Thor, God of Thunder.” I put off Thor for a while because he is far and away the most popular of all the Norse gods, and the combined forces of Marvel and Hollywood have painted a picture of him that the public has come to recognize as authentic. This version is stoic and handsome. In the original epic poem of the detailing the Norse gods, The Prose Edda by Snorri Sturleson, Thor is depicted as more of a bumbling oaf. He is a god for the common people. It was this version that I most wanted to emulate.
I’ve recently begun to do more observations from life as my commissions have lightened up recently. It’s hard to keep up but when I have the opportunity to learn from nature there is no better teacher to be had!
This past week, I helped my friend and studio mate Lauren Szabo prepare an exhibition of paintings by Gregory Manchess at Arte Verissima Gallery in Oakland. The show is titled “Weightless” and features no less than 14 canvases of Greg’s recent work. Arte Verissima has been a gallery for over a year now, yet Saturday’s opening brought in record numbers of attendees and first timers. The excitement was palpable.
I’ve been wanting to beef up my science fiction portfolio for some time now, and “The Mechanic” is one of the first pieces in that genre that I’m genuinely satisfied with. I have a lot of diverse influences and I feel that I managed to meld them successfully with this piece. I’m going to go into more conceptual details with this “Making Of” series as I feel that it is in some ways a more interesting aspect of my work rather than the technical details. Without further ado, here’s how I came up with the idea from the very beginning and fleshed it into a painting.
I’m not one to overemphasize a random date. Birthdays, anniversaries, you name it: they just always seemed a bit arbitrary to me. But, the coming of the New Year seems to have some real relevance this time around. I’ll just go ahead and admit it: I’m super excited for 2015!
Although I haven’t had much time recently for outdoor painting and the weather has been just plain nasty, 2014 was a good year for plein air. Here are some of my favorite plein air studies from the past year.
Authors and readers alike have expressed a fondness for maps and it seems to really give a new dimension to the world the writer is depicting. Questions like “how big is this world?” and “how much is explored?” are difficult to express meaningfully in prose. But with a map, it all becomes clear and believable.
I was recently chatting with some other realist artists about how they find their reference for their work. Reference is an incredibly personal sort of tool – everyone has their methodology and it’s unique to how they create their own illusion of reality. I find this sort of thing fascinating.
I’ve had a lot of comments recently regarding the mirror in my piece, “An Audience for the Lich King.” I often talk a lot about my process, so for this post I thought I might talk more about my concepts and ideas that lead up to a personal work.