Sentient, watercolor, 14¼ x 15" (36 x 38 cm)
Ted Nuttall
Inspiration
I photographed Dominique when I was teaching a workshop in Pont-l’Abbe, France. She was a student in the class, and one day, while I was standing in front of the group lecturing, I was suddenly taken by the way the light was falling on her. Stopping mid-sentence, I quickly grabbed my camera and took several shots at the perfect moment. I was thrilled when I returned to my studio and discovered this image.
Process
Working from my selected photograph, I determine what the composition will be and then do a comprehensive contour drawing in graphite directly on a sheet of 300lb Arches hot-pressed paper. When I’m ready to begin painting, I work from a black-and-white reproduction of the photograph so that I avoid the inclination to copy the color in the picture. My painting process is primarily using multiple layers of transparent watercolor, wet on dry, to ensure an overall aspect of translucence in the finished work. Although this method is perhaps more time intensive than other watercolor techniques, I find the outcome exciting. While my work is essentially representational, I endeavor to suggest a sense of abstraction in my paintings as well.
Drifted Whisper, oil, 16 x 16" (40 x 40 cm)Chiachen Wang
Inspiration
My inspirations come from a variety of sources, including things I’ve seen and experienced. Sometimes, a rush of images or ideas fills my mind, and I make quick notes or simple sketches in my idea book. I also collect images that pique my interest, some from historical art and some from the present. This painting is the culmination of all these inspirations. My goal is to infuse the final piece with a contemporary interpretation of individuality, existence and reality with a profound emotional depth.
Process
Drifted Whisper represents my first foray into figurative painting. The concept was to create a piece that captures my inspirations related to color, form, realism, curiosity and emotion. From the pool of photos taken during my photography session, I selected a few poses that resonated with my vision. Then, I composed these elements with references to my original sketch design. I chose bold colors that harmonize with the clothing and design elements, all set against a flat-style background. This artwork is rendered on aluminum composite metal, primed with two coats of Gamblin oil ground. I drew my final composition onto the painting surface and then began to paint directly. The initial layer served to establish the basic color scheme through broad shapes. Then, I added details during the second and third passes. The later passes involved touch-ups and refinements in specific areas.
Autumn, oil, 48 x 36" (121 x 91 cm)John Michael Carter
Inspiration
Autumn is one of a series of costumed figure studies I have been working on for several years. These paintings are loosely based on Art Deco and Nouveau design influences. I refer to them as “Studio Fantasies or Arrangements.” In this case I wanted to create a seasonal motif and chose an antique kimono with yellow, red and black designs, which I felt worked with a metaphorical fall theme.
Process
I used a step ladder to photograph my model, Sarah, in a reclining pose to reflect the idea of her becoming ready for sleep and being absorbed back into nature. The fallen leaves helped to create lost and found edges with the kimono in order to create the autumn metaphor of the figure becoming part of the decaying leaves. I used dappled light to enhance the effect of the figure disappearing into the background and the diminishing light of the fall season. I used a manganese blue to block in the pose and fabric designs of the kimono, then, beginning with the face and hands, I proceeded with direct painting to build the forms of the figure. I spent quite a bit of time adding and subtracting leaves until I was happy with their two-dimensional effect against the three-dimensional effect of the figure.
Un Petit-Déjeuner en Famille, oil on linen canvas, 52 x 68" (132 x 172 cm)Ellen Cooper
Inspiration
The father of the children in the portrait commissioned me to capture a piece of family life and to have some fun and frivolity with it. He had the idea of a genre-type painting ever since the family stood together in front of a 17th-century Flemish genre painting at the Musée Des Beaux Arts and started laughing at the raucous assemblage of characters, food and animals. Food and sharing a meal is a common connection among the family and provides a way to tell a story about their closeness and the joy they experience, with family pets and animals that they raise. This was an ambitious commission because of the size, number of people and animals and the laden table, and it was all tremendously fun.
Process
After initial conversations to discuss ideas, I traveled to work with the family. Orchestrating the portrait sitting was a big part of this process. It involved setting up the lighting in a tight space, laying the breakfast table, positioning people and animals after trying various approaches, and taking many reference photos. The children were willing participants and enjoyed the spontaneity of the process, which included the chicken serendipitously flying onto the arm of the father’s chair and settling there. I utilized Photoshop to test out compositional options, thinking about rhythm and flow and where people would direct their gaze. The full-size portrait, based on an approved preliminary paint sketch, started with a transparent grisaille to establish the masses and light and shadow. Then I blocked in color all over and continued to move all around the canvas with further color, shape and detail refinement until it all coalesced.—