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Work in progress 5/5/21 May 5, 2021 11:41

Between the Waves work in progress

The initial layer of this painting was a bunch of ripples made with some ultramarine pigments, just because I don't usually use them. They are just sitting there in their tubes and maybe hardening. So I figured to use some of them, together with the siccatif I bought. But I used poppy oil as a medium instead of walnut oil, so that layer took a long time to dry compared to the paintings I started with walnut oil, especially because I put a bit of impasto into it. 

Finally it dried, and I took it out this morning to work on it. Funny how turning things on their side can show you completely different possibilities for a painting. Began to apply some WN Winsor Yellow (PY74) into the center folds of the painting because the yellow + purple made me think of irises and therefore spring, and it's spring, but also I had just seen a call for a watercolor (NOT oil) competition having to do with spring. 

But I also had some lithopone (Williamsburg's Porcelain White) lying on my palette from a previous painting and thought what the hey, might as well use this. And it just growed. I added highlights with titanium. 

Right now this is tentatively titled "Between the Waves." It's 16 x 20" oil on canvas with a traditional 7/8" profile. I was a little concerned about this batch of canvases, because in the past I have sometimes found that the thinner profiles on cheaper canvases can be warped, but so far I've had luck with these Blick Premier traditional profile canvases. I do love the Fredrix Pro-Dixie canvases (which I think only come in the traditional profile), but they are almost twice as much as these. I know I want to do a LOT of painting right now, so I am going to use these. 

I really like painting watery or cloudlike images. I'm thinking of doing some series along those lines, which someone on Instagram recommended to me. Thanks!

 


Avoiding the trap of reference photos June 23, 2018 15:44

Some people use reference photos as a sort of sacred text for their painting. They will even project it onto their support and trace over it. For me, a reference photo can be a valuable aid for getting some interesting shapes, but if I start trying to copy the colors, it can easily turn into a trap and the resulting painting just looks dead somehow. So usually I morph my reference photos in some major way.

Vessels Series: Moon Vessel Finished December 6, 2016 18:46

Moon Vessel surreal landscape by Harold Roth acrylic on canvasI like the vibe of this painting as somewhat like a tarot card. I'm really glad that I started this series. It is much more to my taste than anything else I've done recently. It gets my imagination going and I feel like I am producing much more interesting images. Read more...

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Vessels: Moon Vessel November 20, 2016 19:35

Moon Vessel work in progress 112016The symbols of alchemy and magic were the main things that drew me to those paths in the first place, and I want to make them a major part of my art, incorporating them with my interest in natural forms. Read more...
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Whistler and Lautrec April 8, 2016 20:40

The Falling Rocket by James MacNeil WhistlerWhistler would work on a painting for hours and be all happy about it for 15 minutes, "It's GREAT!", bragging all over about it, and then an hour later he'd go and scrape it off the canvas, terrified that someone would see it and think what a crap artist he was. Read more...

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Water March 6, 2016 18:35

Morning Star by Harold Roth

I finished a painting I've been working on for a week, Morning Star, but I was not pleased with the way it turned out for a number of reasons. One of them was the water. Read more...

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