A Large Studio Painting: The Journey is the Process
I wanted to share something that I am working on because it is a new process for me and is something that I am doing to push myself to another level and to learn a new process in the process.
Working on the charcoal study from painted plein air studies in the studio for the final painting
There is this place that I love to paint in my neighborhood here in Rome, Trastevere. It is this series of old buildings, a sort of mishmash of different sizes, shapes and colors with these trees growing right in the middle. It is what I think this very old part of Rome used to look like and so I have been drawn to painting it over and over again looking for the right way, or my way, to capture this place that I love.
Over the past year I have done several painted studies looking for different compositions and lighting situations.
Old Trastevere
Oil on Panel
12 x 15″
Available
Old Trastevere, Rome study
Oil on Panel
9 x 12″
SOLD
Old Trastevere, shadows
Oil on Panel
9 x 12″
NFS
Trastevere, sketch
Oil on Panel
13 x 10″
Available
I want to make a large painting of this place and I want to try and make it in the studio since it is something I rarely, if ever, do.
The reason why I want to do this is to try and let go a little bit of just painting what is in front of me, but rather use that as a springboard for making a more well thought out composition where I can pick and choose the elements to put in the painting. I am looking to grow as a painter and while painting out on location is the best teacher there will ever be, there is also the next step of seeing what I’ve got as a painter and making the painting, not just the scene that is in front of me.
So what I decided to do is to take all of the studies in the studio and to make a charcoal drawing the size of the larger painting.
The large charcoal study for the final studio painting approximately 36 x 47″
I spent many hours on this drawing and used charcoal because it is easy to wipe and move and erase things quickly. It is also the most painterly medium which allows me to easily interpret values or the light and dark areas easily.
At first I just started to copy mostly from a single painting that I thought was more successful. Then I realized that I couldn’t just do that and have it all “work” on a larger scale. There were areas that were too flat or boring or bright or just imbalanced and I needed to start just looking at the drawing as a work in an of itself since that is what it is really.
Next will be the large studio painting where the color choices will come into play. The drawing was mostly about finding the right composition that seems balanced bewteen the shapes of light and dark, the big and small and the hard versus soft lines.
I am looking forward to this next step and adventure in painting!
J i l l
March 20, 2018 at 4:40 pmLove hearing about / learning from your process! Yes! Brave you – jump in ! <3
Kelly
March 22, 2018 at 12:47 pmThank you Jillian! I am very excited about new projects, ideas, work and developments and I look forward to sharing the future results. Thanks so much for reading.
karen cogan
March 20, 2018 at 5:44 pmI really enjoyed reading your journey on this sketch! I forwarded this to my other artist friends… You’re inspiring us… I didn’t know you lived in Trestevere! You are so lucky
Kelly
March 22, 2018 at 12:48 pmIndeed, I do feel very fortunate to live in Trastevere and to take advantage of painting the streets and piazzas there. Thanks for following and keep up the great work painting!
Nanou Jacobs
March 20, 2018 at 9:46 pmHi Kelly,
A really nice challenge !
I was wandering if this new process feels the same for you like painting ‘en plein air’ ??
I find it hard to reproduce or re-built an old ‘plein air’ drawing ( in my case) to something new in the studio. The marks/ lines look different and less spontaneously as the one I drew outside. Do you experience the same ?
Or is it just me and is that why I prefer ‘en plein air ‘ drawing !?
The charcoalsketch looks nice !
Good luck with next step
Nanou Jacobs
Kelly
March 22, 2018 at 12:53 pmHi Nanou, how lovely to hear from you!
This is a great question and exactly why I have spent so many years working solely on location- to keep the freshness of a painting alive and also to train myself in getting to know the many different and varying lighting effects.
Now that I feel I have some of that under my belt (the learning never ends and painting from life for me will always be important and a key element of study and ongoing learning), I think that taking these to the studio to make a larger painting is not just about reproducing the same scene yet again. Rather it is to make a painting that will live on its own, using the studies as a springboard. Making a painting, one that will live on its own and is not a photograph, but an interpretation of a moment and a place, is also an important step in developing oneself as an artist and learning about your unique voice through things like composition, light and color choice for example.
I hope this answers your question and that you are still out sketching away Nanou!
Philippa
March 25, 2018 at 11:50 pmHi Kelly, thank you for letting us in to see your process. Your outdoor work has inspired me for a long time, as has your “talking” through your blog. This will be interesting to see you dive into the classical approach and find your painterly language in another way. What a demanding process. I think of the instantaneous vision and quick work of outdoor painting and then contrast it with these many layered steps. Phew! Very exciting for us to follow. Thank you Kelly. Cheers, Philippa
Jourdie Ross
March 28, 2018 at 12:11 amHi Kelly!
I’ve been following your newsletter and art journey for a little while now. I’m developing an art business as well; your work and business are a true inspiration and encouragement. Thanks for sharing it with all of us!
I love your artwork, and this charcoal sketch really blows me away. I’ve always hated charcoal–too uncontrollable and sneezy! But your description of the process gives me newfound appreciation for the medium, and of course the outcome is just lovely. The way the composition and lighting pull you from the edges to the center is a really enjoyable to experience, and the overall balance of lines and contrasts is beautiful. Bravo!