Okay, here's something pretty recent. So recent in fact, it's a work in progress. For the first time, I got wise enough to use the digicam to record my work as it goes.

Just hit cancel on that request for password thing that comes up - you should be able to see the images just fine. I don't know how to make it go away without putting my images someplace besides UT webspace.

There's kind of a funny story that goes with this pose. Now, normally in figure painting we paint nude models. It sort of goes without saying. However, I'm one of those guys that's never happy with anything, so I asked Susan (Whyne, the prof) to do some clothed poses so we can work on drapery as it happens on people and not just objects in the set-up. She happily agreed to do this, and we had a couple of one-day poses with the model wearing progressively more - I'll post the results of my work on these days later. We started with dressing the model in a bikini then a sundress, and finally, as you can see here, regular street clothes. Now, knowing that our next pose was going to be a long one - in fact the longest of the semester with five four-hour sessions, I arrived early the first day of the pose to get the best seat in the house (I'd had to peer around my classmates or lights or whatnot for other poses, which I didn't enjoy.) So, I was setting up my easel and paper and palatte while Prof. Whyne, the TA, and the model were getting the set-up ready. So, just so you understand, I was where I was before the model got into her pose. Being that it was a long pose, it was a forgone conclusion that the pose would be either seated or lying down to keep stress on the model from being a problem. So, as the teachers fussed with furniture and lighting, the model fussed with her pose. And ended up giving me the big ol' Eric Fischlesque beaver shot you see here (to be fair, Susan encouraged her - she's a huge Fischl fan.) So, despite the fact that i was agitating for - and got! - a clothed model, I ended up with an even more sexual, provacative angle for my painting than when the models were all nekkid 'n' shit.

Okay, here's the first of the in-progress photos. I took this one at the end of the first day of painting, so it's pretty rough.


Here I've filled in the face and blouse a little after about an hour on the second day.


Adding some form and color to the models arms and legs, plus the chairlegs.


Face and hair coming along - ditched the glasses for the moment, they'll come back later, though. Again, the flesh on the limbs is getting better.


And here's a nice big one of the way it appeared at the end of class Thursday. I think a good session on Tuesday should finish this one up.

NEW WORK! Well, relatively new work.


A self portrait. Oil on paper, spent two and a half, maybe three hours on it back in January. Straight alla prima stuff, nothin' fancy. Super limited palatte, too: burnt umber, black, white, and a little cadmium red. We were looking at Rembrandt's stuff at the time, so the idea was to duplicate his palatte (and ideally, his skill.)


A figure painting from the very next session of my figure painting class. Same deal here - paper, single session, alla prima, limited palatte. This is a lot larger, though - about 6 feet tall, and since the figure is seated, if he stood up he'd be about 9 or 10 feet.


A graphite on paper drawing from similarly early in the semester. I think this was a little faster, maybe an hour and a half.


About 2.5 hours of graphite (or was it conte?) on paper.