05 November 2018

New Portrait - Beauty and the Beast

First let me do my pitch...I'm always looking for portrait commissions.  It's what I do.  Please contact me if you are interested in commissioning a painting or drawing.  I work with clients near and far.  View examples of my work at my website or on my Instagram feed.

On to the post-

Beauty and Beast, oil on linen, 24x18"

This is a labor of love, a portrait of my daughter and her cat.  I aimed to create an intimate feeling  by filling the picture plane with the figures, making them feel close, and through the direct eye contact of the viewer and both subjects.

I relied on contrasts to add interest and encourage the viewer to linger and take another look. Examples of contrast are the textures of the smooth sheet vs. rough carpet, the warm/cool color pairs in the carpet vs. sofa, in her warm hair vs. cool highlights, in the warm setting vs. cool figures and in warm shadows vs cool lit areas.  I also tried to create a little mystery by losing edges between the forms of the 2 focal figures.

I'm including a progression to show the painting stages.  Please click on the label "progression" at right to learn more about my process from previous posts.

And finally, here it is framed.  The right frame always kicks it up a notch.  What do you think?

Beauty and her Beast, framed

30 August 2018

More Charcoal and White Chalk Portrait Drawings

Hello, I'm back with a few more recent portrait drawings.

The first was drawn from a photo as a preliminary sketch for a portrait painting.  I usually don't like toothy smiles, but this is for a posthumous portrait and the smile fits this sitters personality.  She was an avid gardener, and the painting will convey the joy she got from getting dirt under her fingernails.

The second was drawn from life during a 2-hour session.  I draw from life as often as possible to keep my skills up.  The work suffers over time if everything is painted from photos. 

Daisy in the Garden, charcoal and chalk on toned paper, 9 x 11"

Ellie (from life), charcoal and chalk on paper, 9x11"

11 August 2018

Some New Portrait Drawings

Here are some recent drawings I created as studies for upcoming portrait paintings.  This is a classic technique that produces beautiful results.  The paper tone stands in for middle values, the white chalk represents the lights and the charcoal creates the darks.

I like to work a portrait up in stages.  During the preliminary drawing, I get to know the sitter's face, and solve most of the issues I will encounter before the paint comes out.  At the completion of the commission clients may chose to purchase the preliminary sketch, too.  A little add-on.

Of course, some clients prefer a drawn portrait rather than a painted one, that's also an option.

The studies below were drawn from photos using vine charcoal, charcoal pencil, Pan Pastel and white chalk on Canson pastel paper.

Your comments are welcome.  DM me for more information if you are interested in commissioning a portrait, painted or drawn.

Lynn (study), 9x12"

Amanda in Black (study), 9x12"

21 July 2018

Wet Paint: Portrait Painting of An Artist

I continue posting on this blog because I like the format and I know lots of you like it, too.  The popularity of blogs is not what it used to be, but it's nice to offer commentary in more depth than other social media platforms.

But I am also posting over on Instagram on a more frequent basis, if you wish to keep current with my work.  That platform is image-driven, which I also like.  Posting is quicker.  More studio time :D

My instagram address is:   https://www.instagram.com/candacexmoore/

Today's post is a portrait of a friend, the artist Marla Epstein.  I gave Marla this portrait for her birthday a while ago.  She's a patient person.  I am not posting the progression because the early stages of this piece were not very appealing. But I stuck with it and I'm happy with the final result.   I learned a huge amount, including the importance of working through the "ugly stage" of a painting.  In my experience, most paintings have one. 

I am including a few detail pics below for your interest, too.

If you have a moment, I'd like to hear you opinion on blogs versus other social media platforms.  Do you like them? Do you care?  Do you have a preference?  Should I keep this blog current?  Thanks for visiting.

In Between, oil on linen, 24x30"

"In Between" detail
"In Between" detail

03 April 2018

Commission: Miss Cora

It's always nice to type that word "commission", and I'm always looking for them.  Please contact me if you are interested in commissioning a portrait painting or drawing.  I work with clients near and far.  View examples of my work at my website or on my Instagram feed.

Portrait of Cora, 11x14", oil on board

I get to use that word in today's post.  This is a commission of 1-year-old Cora.  She's got lots of energy, but I caught her in a peaceful moment.  A little angel baby.  This was a fun painting.  Instead of a lot of planning and a monochrome underpainting, I just launched into a charcoal drawing on a Golden neutral 6 acrylic-toned and gessoed board.

Progression from charcoal drawing to finish

I include a progression here for your interest.  If you have any questions about my process, post them in the comments and I will answer.

Framed Cora

Finally, the clients chose a gold-leafed frame.  A nice contrast to the cool blue background.

07 March 2018

New Instagram Page and Some Wet Paint

Before I begin today's post, I am inviting all my blog followers to join me on Instagram.

I will keep posting to this blog, so don't go away.  Some ideas are best expressed in blog form.  But I like the simple, visual format of Instagram, and I will be posting different content over there.  It's a good combination.

Hope to see you on Instagram!


On to today's post...a recent portrait of my mother.  For this piece, I liked the challenge of expressing her advanced age in a way that shows her beauty, too.  The beauty in the truth.  If you are interested, I previously described my portrait painting process here

Believer, 12x16", oil on board

One big mistake I made on this painting...I used a cheap support, an acrylic-gessoed, textured board. I thought it would be good to experiment with new surfaces.  The cheap fake-textured board didn't allow me to control my brushwork and edges.  I almost stopped halfway through, but that's not my style, so I pushed on.

I still learned a lot from this painting, so all is not lost.  There are a few things about it I think are working.  I like the visual depth of the image.  I'm happy with her hair and clothes.  But at the end of the day, I couldn't control those edges, especially on her face.

Here is a progression, from the underpainting in raw umber to the finished panel.

And finally, the framed painting.  Always looks better in a frame.  Okay, peace out.  On to the next portrait.

Framed Mom.