Exclusive Scott Burdick Painting Demo

A while back I did an interview for tlc magazine with one of my favorite artists Scott Burdick. Today I'm sharing the painting demonstration he did for the interview which hasn't been seen on the net.

"Curious" Tibet - oil, 40" by 26"

Be sure to visit Burdick's site for more work

Palette Knife Paintings

8" by 10"
oil

8" by 10"
Oil

Exclusive Online Only Sketch Sale

My page for my sale of original sketches is up. Check it out!
http://www.etsy.com/shop/DiaDeLosMuertos

Raven

"Raven"
Oil on Canvas
10" by 12"

Nude Studies

Below are a couple of Nude studies I've done. Nudes to me are a lot about form and color and light, so I tend to like to put a more abstract contemporary bend to them.

"Standing Nude"
Oil on Canvas
28" by 15"

"Seated Nude"
Oil on Canvas
11" by 14"

6by8 Sketches

Lilies

Oil on Canvas
12" by 16"

Master: Antonio Mancini

Wanted to take a minute and post some pics from one of my favorite master artists Antonio Mancini.
















Take a look at his Graticola above. This photo really shows the great accuracy he was able to get with it. In some of the paintings above you can see the lines from the graticola ropes over the canvas.

Wiki excerpt:

Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823–1901), a painter of historical scenes who favored dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (1818–1899), a landscape painter. Mancini developed quickly under their guidance, and in 1872, he exhibited two paintings at the Paris Salon.

Mancini worked at the forefront of Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in "Saltimbanco" (1877-78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds.

While in Paris in the 1870s, Mancini met Impressionists Edgar Degas and Édouard Manet. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. His mature works show a brightened palette with a striking impasto technique on canvas and a bold command of pastels on paper.

I've got one of his books if anyone knows of any more books of his work I'd like to pick one up, Thanks!

Cold Creek

"Cold Creek"
Oil 10" by 8"

small study from the creek a few blocks from me.

Winter Home

It's 2010 and my first post of the new year. I'm looking forward to posting much more work on my blog this year. This was the last painting I finished in '09.

"Winter Home"
Oil / Canvas
16" by 20"

Snowy Conifer

"Snowy Conifer"
Oil / Canvas
11" by 14"

Landscape Painting Demo

1) Laying in some ground work. I find that having a warm tonality to the ground work for a final image with a cooler tonality really helps with my color choices. A cool ground can work for a warm toned painting as well.

Sometimes I like to place opposite colors down too. It helps me in judging Hue relationships as well. For example, Green grass try a red ground or a blue sky try an orange or yellow.

Getting started is probably the most challenging part. I think a lot about how to start a painting. It dictates the direction of your work a lot. I know it doesn't look like anything but I've got the most basic breakdown of large shapes in this step.

2) Blocking in color. Getting in some darks and lights. General idea of color for large areas. Picking at warms and cools here and there. Keeping it really general.

3) Working from background to foreground now. Sometimes it works to do the foreground first then the background. It mostly depends on your subject. Doing the foreground can work by establishing your value contrast and then you'll know everything else behind it will have less contrast. For this though, I wanted to make sure the tree looked like it is in front of the sky.

4) The Sky is almost there. Adding some more definition of light and shadow to the tree. Making some touches to the foreground bushes.

5) blocking in some more color to the bushes. Making some decisions as to how they will lay out.

6) Adding some more color and texture. Using some dry brushing and my favorite tool, the palette knife.

7) Making my shapes of color look like the objects they represent. Compositionally, I make some of the bush branches point towards the focal point which is the tree.

8) Adding in the tree branches and sky holes. Sky holes are typically darker than the sky surrounding the tree.

9) Making the tree look fuller and defining the mountains. Making some touch ups and it's almost set!

Finished Painting- signed in lower right. Let it dry, frame it, and ship it out to be hung in a gallery.

"Single Tree"
Oil / Canvas
16" by 20"

Peak over Mirror Lake

"Peak over Mirror Lake"
Oil - Canvas
16" by 20"

A better photo of a painting from a previous post.

Winter Creek

"Winter Creek"
Oil 10" by 20"