Wyatt Painting Stages Video

by Lisa Larrabee

Wyatt was recently selected to be a finalist in the Richeson 75 International 2013 Small Works competition.  Although I have shared photos of the stages with descriptions of the technique used, I love watching one phase merge into the next.  I decided to play around with a little video editing.  I hope you enjoy it!

~ Lisa

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Baby Wyatt Portrait in Oil

by Lisa Larrabee

Wyatt
oil  6" x 6"
Richeson 75 International
Small Works finalist

I was looking forward to working on this painting for several reasons.  First, I loved the picture and I was excited to create the painting for his parents. Second, I wanted to play with the process and try out some variations on a technique that is fairly new to me.  I thought I might try be able to use this technique on an upcoming painting on a much larger scale.  It was time to play!

Monochromatic Portrait Paintings

by Lisa Larrabee

I started these monochromatic studies of my boys with the intention of glazing color over them.  This whole process was very foreign to me.  I typically build both contrast and details gradually.  Beginning with strong darks, lights and details was completely the opposite of what I was used to, but it was also instantly rewarding.  So much so, that I didn't want to add color.

Starting on a solid background color, I painted directly with white oil paint.  I began with the lightest area in order to make value comparisons against it. 

Harvest: Portrait Painting Stages

by Lisa Larrabee

Harvest 

artist Lisa Larrabee

20" x 24"  Oil

There are many different ways to begin a painting.  One technique that I particularly enjoy involves "drawing in paint".  When I begin a portrait in this way, there is little to no preliminary drawing.  I begin my sketching of the features in paint.  I avoid creating too much contrast (lightest lights and darkest shadows) because it is much more forgiving when moving the paint around to make corrections.  This push and pull of shapes and shadows actually feels more to me like sculpting the features then drawing them.

Painting Negative Space: Part III

by Lisa Larrabee

The Spaces Between

(detail)

Oil  24" x 24"

artist Lisa Larrabee

In the third, and final, post of this series I want to share the most  recent of my paintings that is built around negative space.  It is also the largest and most complex.  

I started with a detailed painting of the trees because the subject was so intricate.

Painting Negative Space: Part II

by Lisa Larrabee

Aleppo

16" x 20"

Richeson 75 International
Landscape finalist 

This tree is in my backyard, and I take a lot of satisfaction in watching the light and colors change as sun sets through it at the end of the day. Although the composition is the same as Fiery Pine, I had no intention of painting the same piece twice.  I want to include this process to show a different technique for approaching a painting through the negative spaces.

Painting Negative Space: Part I

by Lisa Larrabee

Fiery Pine

Oil  20" x 24"

artist Lisa Larrabee

In my art classes, I often encourage painting the negative spaces.  As a technique, it is incredibly useful. However, it can take some mental adjustments to be able to define an object, not by painting the object itself, but by painting, in essence, around the object.  I love to do this, and continue to experiment with variations of painting negative spaces.