Lizzie on Decatur Street
101 Oil Studies, No. 60
Objective: Direct life drawing oil portrait with background based on photograph.
Painted in 10 sessions: 11 Feb to 31 March 2025
Pigments (Winsor & Newton Artists' oil colour unless otherwise noted): Yellow ochre, Naples yellow, Naples yellow light, terra rosa, burnt sienna, permalba white (Weber), warm grey (Rembrandt), terre verte, indigo, ivory black, Winsor violet. Mediums: Gamsol, Oleogel.
Centurion OP DLX oil primed linen, 27.9 x 35.6 cm (11 x 14 inches)
Process: This fun study began with model Lizzie at the New Mexico Art League studio, who sustained a long pose over three Sundays: February 16, February 23, and March 9, a total of six working hours. Thereafter, I built a street scene based on a photograph I took on Decatur Street, New Orleans, ten years ago. Lizzie, who posed with her arm on a high stool, chose a full-bodied red to match her dress in my concept.
I aimed freehand for a vanishing point far beyond the fame, leaving my perspective a little clunky. Instead, I could have made proportional marks at the edges relative to the horizon line, which was near the top of the frame in this case.
Lizzie on Decatur Street
101 Oil Studies, No. 60
Objective: Direct life drawing oil portrait with background based on photograph.
Painted in 10 sessions: 11 Feb to 31 March 2025
Pigments (Winsor & Newton Artists' oil colour unless otherwise noted): Yellow ochre, Naples yellow, Naples yellow light, terra rosa, burnt sienna, permalba white (Weber), warm grey (Rembrandt), terre verte, indigo, ivory black, Winsor violet. Mediums: Gamsol, Oleogel.
Centurion OP DLX oil primed linen, 27.9 x 35.6 cm (11 x 14 inches)
Process: This fun study began with model Lizzie at the New Mexico Art League studio, who sustained a long pose over three Sundays: February 16, February 23, and March 9, a total of six working hours. Thereafter, I built a street scene based on a photograph I took on Decatur Street, New Orleans, ten years ago. Lizzie, who posed with her arm on a high stool, chose a full-bodied red to match her dress in my concept.
I aimed freehand for a vanishing point far beyond the fame, leaving my perspective a little clunky. Instead, I could have made proportional marks at the edges relative to the horizon line, which was near the top of the frame in this case.