Posts Tagged ‘tropical’

1433-source1.jpg

Here's the source image for the painting, before and after tweaking in Photoshop.


For my second painting of Jeff, I got a bit more ambitious. I chose a shot of him sitting on the floor in my living room in the late-afternoon light. By ambitious, I mean that instead of just focusing on the figure as I often do, here my intention was to create a fully realized environment, with light, shadow and space, so that the viewer has a sense of place and time, and all the emotional components that come with that.I wanted to do a more stylized approach on this one. The first thing I did was start playing with the image in Photoshop. As usual, I applied the Posterize filter to get a more stylized, colorful look. This is usually gives me ideas about ways to transform the photographic image into a painting. As you can see, I also moved one of the plants, and changed the exterior view through the windows to something more colorful and tropical. Being able to re-create the source image digitally like this is a great tool in planning the painting before even beginning to do rough sketches.
1433prepsketches1.jpg

Some of the first sketches.


Next I started doing actual real-world sketches on paper. In fact, I did a LOT of rough sketches trying to get the figure the way I wanted it. The ones you see here are just a few of them. When my intention is to give the figure a more stylized look, that means I have to draw it over and over again until I have a really good grasp of all the dynamics of the pose and the way the parts of the body fit together within that. Sometimes I’ll draw the pose 20 times or more before I finally hit on a way to bring it to life in a simplified, stylized manner.

1433prepsketches2.jpg

More of the preparatory sketches where I'm working out visual ideas.

Once I got the figure more or less right, I worked on integrating it into the background. This involved more rough sketches while I worked out the relationships between the figure, the sofa, the plants, etc. It always changes things when you take the photographic image and start transforming into lines on a piece of paper. My final goal was to have a painting that consisted of a line drawing AND a somewhat realistic light-and-shadow environment, and have them work well together. And the first step toward that was to get a line drawing that worked.

1433prepsketches3.jpg

Sometimes I use old-fashioned cut-and-paste to try out different combinations of model and background.


The top image you see here is a more finalized sketch where I began adding light and shadow to get a better idea of how things were working, or not. This felt pretty good to me, but I wasn’t happy with the model’s hand. It looked awkward to me. So I went looking for a similar pose in the same series of photos, and found another one where I liked the hand better. I also noticed that in that pose, I liked the position of the legs better, too. So I did another drawing of the figure with those changes, and liked it. To see how that would work, rather than re-drawing the entire background, I just cut out the figure and laid it on top of the light-and-shadow drawing I’d just done, and it worked pretty well. So now I was ready for the next stage of the process.
1433prepsketches4.jpg

After scanning the final prep sketch, I had to 'clean it up' in Photoshop before adding color.


Next I scanned the pasted-together drawings so I could work with them in the computer. Once I had the scan, I worked on it in Photoshop to clean it up. That meant getting rid of as many greys as possible so I could have a mostly purely black-and-white image to work with. By putting that on its own Photoshop layer, I can create another layer “behind” it where I can apply color, so that I can do a digital test painting before doing the real thing in acrylic on canvas.
1433prepsketches5.jpg

Test painting I did in Photoshop using my Wacom digital tablet.


This is the test painting I did in Photoshop. I sampled colors directly from the digital source photos, and kept some of the colors as is, while tweaking others. The result was an image I thought looked pretty workable. Doing this (which took about an hour and a half) also gave me some insight into some of the challenges that would present themselves when I began actually creating the painting in the real world. Not all of them, of course, but the more I know ahead of time, the better.
1433inprog1.jpg

Beginning the actual painting on canvas.


Now, after 4 days of sketching and preparing both digitally and on paper, I was ready to start the actual painting. I used a digital projector to project my digital drawing onto the canvas, traced it with pencil, then painted that line drawing in black. Once that was dry, I began painting a reddish-brown wash over the line drawing. Next step was to mix the colors.
1433inprog2.jpg
This is where having done the digital test painting really pays off. Even though there’s never an exact translation of color between the computer screen and the real world, I have a very good printer, and by printing out the source photos and the digital test painting, I have something I can put in front of me while I’m mixing the acrylic paint on my palette. This helps a lot!
1433inprog3.jpg

Almost done...


Several hours of painting got me quite a ways along. By this point I was feeling pretty good about how it was going, except I wasn’t at all happy with the head or face. So I painted over the face and continued with the rest of the painting, with the intention of going back and working on the head/face as part of the last phase of the painting. By now I’d been working on the painting for nearly a week and was hoping one more day would do it.
1433.jpg

Finished! Title: Ohua Afternoon (click on image to see this item on my website)


The next day I started work on repainting the head. After many false starts, I finally got a face and an expression that felt alive, and whose looks I liked. Then, a few more finishing touches, and I was done! This was one of the most ambitious projects I’d undertaken in quite a long time, and on completion, I felt pretty triumphant! Since my apartment is on Ohua Avenue, I’m calling it “Ohua Afternoon.”

scorpiorising-source1.jpg

Here's the photograph I began with.

I got the idea for my first painting of Jeff as I sometimes do, by accident, while playing around with Photoshop. There were several photos of Jeff sitting crosslegged on my bed that I liked, and I liked the plants behind him, but for some reason I thought, why not see what it would look like without the plants, and in fact without any definite background at all? So using Photoshop’s selection tools, I selected everything but the figure and the bed and the pillows, and then inverted the selection and hit the delete button. This effectively erased the background.


When you “erase” something in Photoshop, that area changes to whatever the Background color is at the time. Default for the Background color is white, so usually that’s what you “erase” to. However, this time the background went to an interesting red tone. This is probably because I was using that color the last time I was working in Photoshop.

scorpiorising-source2.jpg

Some interesting accidents happened on the computer...(image on right tilted and Posterized)

When this happened I could easily have hit “Undo” and changed the Background color to white, or anything, and repeated the action—but instead, I looked at what had happened and said, “Whoa. Cool!” Because the color really worked. Not a color I would have consciously chosen…but there are no accidents, right? On top of that, because of the way I had made the selections in the first step of tweaking the photo, there was a nice little halo effect around Jeff’s head and shoulders. The overall result was so striking I thought, hey, this would really work as a painting. So I tilted the whole thing a bit clockwise (so that the edge of the bed was more level) and applied a Posterize filter, and thought, hey, I’m ready to go on this.

scorpiorising-inprog1.jpg

Beginning the painting on canvas.

Next step was to transfer the image to canvas, via a pencil line drawing, then lay down a reddish-brown wash over the drawing. While that was drying I mixed colors. I began with the red background and the blue pillows. You should keep in mind that at this stage I have no idea if the painting will work. But as I continued with this one, I started to get a good feeling: a feeling of hesitant exultation, a feeling that says, “Hey…this might just work out!”


(I am telling you guys all this because I think there is a misapprehension among non-artists that we so-called “successful artists” just go into the studio and start painting and magic happens. I’m here to tell you, NO, that’s not how it works. Maybe 1 in 20 times it works that way. But 95% of the time it’s like the process I’m describing now. You have an idea, you think it might work, but you’re afraid to start. No matter how many successful paintings you’ve done, there is still that leap of faith you hae to take to get going. Then once you start, most of the time you are still deep in doubt. You wouldn’t believe how often I start working on something and it just looks like shit—and I’m thinking, oh god, give me faith in myself. Because this does NOT look good…probably the hardest part of being an artist is having that faith in yourself that you will produce something decent, despite all the indications at the moment. So please don’t think that every time I start painting it’s this effortless magical thing–or that everything I attempt actually works out.)

scorpiorising-inprog2.jpg

Things are looking like they might work out.


Anyway, things are going well. The red and the fleshtones are working well together—which is a huge relief, because there are about 43 million ways to mix fleshtones and I never do them exactly the same way twice. So the fleshtones were working with the red, and the blues I chose for the sheets and pillows were working too! This is great. At this stage all I have to do is stay out of my own way and not f**k it up!

1432.jpg

The final painting: Scorpio Rising (click on image to see it on my website)

After about a day and a half of further work, I’ve finished. And it turned out well! This painting was one happy accident after another. Though I don’t mean to be falsely modest and imply that I didn’t have something to do with its turning out okay. I see my task as an artist to get as technically proficient as I can so that when those happy accidents strike, I’m alert enough and technically skilled enough to take advantage of them.

(About the title: Jeff is a Scorpio and there’s that Scorpio tattoo on his chest, so even though Scorpio is his sun sign and not his rising sign, I decided to call the painting “Scorpio Rising” just because it’s such a great title.)

Jeff arriving at my apartment for the photo shoot

Jeff arriving at my apartment for the photo shoot

Through some online connections, I saw a picture of a very attractive guy named Jeff, who is originally from Hawaii but now lives in the Pacific Northwest. He was planning to be in Hawaii for a few days and I was able to contact him and asked him if he were interested in talking to me about modeling for me while he was here. A couple of weeks later, he showed up at my place and we had a nice talk and decided yeah, we could work together.

I’ve lived in my Waikiki apartment for only a little over a year, and haven’t really thought of it as a good location for a photo session. I usually prefer to do outdoors photo shoots but Jeff was only available on the weekend, which is not a good time to try to shoot nudes at any of the Oahu beaches I know. So I decided to try doing a photo shoot in my apartment. I’ve done one other photo shoot in the apartment, with Sam, and it worked out pretty well, so I thought it might be okay. Especially since I’ve gone plant-crazy in the last few months and I have lots more greenery to add to the visual interest and appeal of the place. So I had Jeff come over to my apartment the next afternoon.

jeff looks good in bed

Jeff looks good in bed

First thing I did was get him into my bed! Not like that—you know what I mean. But it’s a great setting and actually the light in my bedroom at that time of day turned out to be terrific for this purpose. And Jeff DID look awesome in my bed, as you can see.

We moved some plants into my bedroom to add to visual interest...

We moved some plants into my bedroom to add to visual interest…

Next thing I did was move some of my bigger plants into the bedroom to add to the backdrop. This was the beginning of a LOT of plant-moving that went on during the photo shoot. I need to get planters with wheels in the future. Anyway, I think it added a lot to the backdrop—and it’ll be interesting to see how this works out when I start painting some of these images. (I always wanted to have plants to use in this way, but I used to have a black thumb—plants always died on me sooner or later. For some reason, as I’ve gotten older and more at peace with myself, plants like me more. They now grow in my environment. In fact, it turns out I have somewhat of a green thumb now! I love having that I now have LOTS of plants in my home, and they seem to be thriving! The fact that they work so well to add visual interest when I’m doing a photo shoot is an unexpected fringe benefit.)

jeff-fire-escape.jpg jeff-onsofa.jpg
Jeff on my fire escape… On the sofa in my living room

My apartment has a back door that leads onto a fire escape which is actually kind of cool, with black-painted walls. So we moved one of the plants out there and I did some shots of Jeff with the plant in the background. This KIND of worked. The jury is still out, but I suspect some unexpected kind of painting will come out of these shots…we’ll see.

Next we went to my living room and I did a bunch of shots of Jeff there and that worked really well. I already knew Jeff was attractive but as I photographed him I liked him more and more. He looks good from just about every angle. His ethnic background is Caucasian-Mexican-Chamorro. Chamorro is the ethnicity native to Guam, and the look is similar to Filipino, and in my book, men of Filipino or part-Filipino ancestry are among the most attractive men on the planet. So I love Jeff’s look.

jeff-sofa-afternoonlight.jpg

Late afternoon in my living room

Several shots of Jeff in the late-afternoon light in the living room were really striking. I think there are many of these that could turn into paintings. Jeff’s brown body against the white of the carpet and the sofa, plus the green of the plants, and the drama of the late-afternoon sunlight—I think there are lots of possibilities here.

jeff-lanai-plants.jpg jeff-canga-on-railing.jpg
On the lanai with plants… One of my favorite shots, near the end of the photo session

I also took advantage of my lanai and all the plants out there. Again, we were moving plants like crazy, trying to find the right arrangement to give a nice backdrop and work with the light. Jeff was super-helpful and cooperative and easy to work with. I am so grateful that I seem to attract great models to work with—not only beautiful to look at but easy-going, pleasant guys as well. Jeff definitely falls into this category.

All in all it was a great shoot. I had some trepidation about how well it would work to do the entire shoot in my apartment, but I was very pleased overall with the reesults. Best of all, Jeff and I had fun. My experience is that that’s almost a guarantee that the images that come out of the photo session will produce good art. When I find the model attractive AND enjoy working with him, then I’m a lot more inspired once I begin the actual drawing and painting. I’m looking forward to the art that comes out of this photo shoot.

Update to this Entry:

In April 2013 I published an e-book called “Jeff” which contains almost 100 uncensored photographs from both of my photo shoots with Jeff. You can purchase it for instant download here.

There’s this photograph of Wellington and Israel at Massarandupió Beach in Bahia that I love. It really captures one of the many great moments that day. The composition, the lighting, the feeling of the image….I think they’re all wonderful, and I thought it would make a terrific painting. But for a long time I was afraid to tackle it. I was afraid I wouldn’t be able to capture the light and the feeling of the image. But finally I decided, okay, maybe I’m ready now. I’ll give it a shot!

2477bahianbchboys-source.jpg

This is the photo I started with.


I started by tweaking the image in Photoshop. There are two major differences I make in the image this way. One, I intensify (via saturation and light/dark) the colors, which makes the image more vibrant. In this way I have a guide for mixing colors. It’s possible to mix vibrant colors even though you’re working from a less-than-vibrant photographic image, but it’s a lot more difficult. I like to let the computer do this for me. And in the final analysis, I don’t have to follow the color guide in the photo exactly…it’s just a guide. The second thing I do when tweaking the image is blur it. But I don’t use the Blur function in Photoshop, I use something called Median (Filters -> Noise -> Median). This removes the detail in a more elegant way than just blurring the image. And that’s what I want—to remove the detail. This forces me to look at the major shapes and areas of color and light and dark when working on the painting. I could do that by just squinting at the source image while working, but it’s nice not to have to do that. And of course I keep the undoctored image around in case I want to add in some detail (but not until much later!). Oh, yeah—I often use Posterize on the image after Median. This lessens the number of colors used so it’s easier to see color areas.

2477bahianbchboys-source2.jpg

This is the photograph after some tweaking in Photoshop.


My next step was to do a color study. This is a small, rough version of the final painting in which I can work out problems of color, tonal balance (balance of lights and darks), composition and whatever else I might not expect but which will probably crop up in the color study. The color study went pretty well but I found I had difficulties with the tone of the hill behind the figures. I kept getting it too light or too dark. Also it was a tricky mix of greens and purples. I kept remixing the colors until I got it more or less correct. When I had everything looking pretty balanced, I decided I was ready to tackle the big picture.

The acrylic sketch I did as preparation for the painting (click on image to see this item on my website)

The acrylic sketch I did as preparation for the painting (click on image to see this item on my website)

The biggest challenge in doing a big finished work, as opposed to a rough sketch, is psychological/emotional. It’s hard not to take the larger work more seriously and care more that it works out. Caring too much about the success of a painting is practically a guarantee of its failure. The difficulty is finding a balance between working toward a vision of the finished work, but not gripping that vision too tightly, so you can stay loose and allow the energy to flow. With this painting I was on both sides of that line, but walked it most of the time. Which worked out pretty well. I needed all the preparatory work I’d done because this painting was a challenge in many ways—but all the work paid off and I managed to keep it loose and fairly spontaneous and still capture the feeling and the light of the original scene. I’m pretty happy with this one. I’m calling it Bahian Beach Boys.

The final painting (click on image to see this item on my website)

The final painting (click on image to see this item on my website)

For this painting I went back to one of my most consistent themes/fantasies: the naked brown-skinned boy in the jungle. I still have lots of Baiano photos I haven’t used, and I found a nice one for this, where he’s leaning against a tree on a hillside near Itacaré (see my Dec. 1 2008 diary entry for more on that photo shoot).

coastaljungle-sourcefoto.jpg 1090717.jpg
New model Baiano on a jungle-y hillside in Itacaré The rough sketch that inspired me to do a finished painting. Click on image to see this item on my website.

This painting actually began the way many of my paintings begin—with a sketch that I really liked. Many times I’ll start with a photograph I really like and then none of the sketches that come from it really excite me. When that happens I usually just move onto another image until I get a sketch that DOES excite me. But with this one, it happened right away. I like the feeling of the sketch and I’m determined to keep the painting loose and not get too careful and overwork it.

coastaljungle-inprog1.jpg coastaljungle-inprog2.jpg
This is the underdrawing on the canvas before the painting begins. Here, the first thin washes of color have been applied.

Next I transferred the sketch to canvas. I did this the easy way—I scanned the sketch, then used my digital projector to project it onto the canvas so I could do it exactly the size I wanted, and retain as much of the feeling of the sketch as possible. You’ll notice I also went into a bit more detail with the plant life.

Next I did the ground, which is the underpainting. I used to use a single color for this—and that does work fine—but lately I’ve been doing one color for the body, one or two colors for the background. That seems to work pretty well for me too. Once the ground had dried, I outlined the forms with dark paint. I used to always use black paint for this, but lately I’ve begun doing colors. In this case I used a really dark warm brown for the body outlines, a really dark green for the foliage outlines, and a dark cool brown for the tree outlines. It’s more work, but it’s subtly different from the black outlines and I like the final effect better.

coastaljungle-inprog3.jpg coastaljungle-inprog4.jpg
Here I begin actually applying the paint. About 60% done.

While that was drying, I mixed my colors for the actual painting. This is usually a pretty time-consuming part of the process—sometimes I’ll spend up to an hour mixing the colors. I think I overdo/overthink this process sometimes though, and I find lately I’m getting better at keeping the mixtures simpler. Which of course is always a good idea. Not only does it save time, the art tends to be better when it’s more spontaneous and LESS complicated instead of more!

The final painting (click on image to see this item on my website)

The final painting (click on image to see this item on my website)

I spent a couple of days on this one and it worked out pretty well. Working all over the painting made it possible to get a color scheme going without too many false moves. I’m also pleased that I didn’t get too careful; I kept the whole painting pretty loose and it has a nice consistency of tone, I think. I’m calling it “Coastal Jungle.”

1407source-2upI was browsing through my thousands of digital photos on my computer, looking for ideas for my next painting, and I found myself in the Marcus April 2006 folder. This was the trip I took to Rio and rented my friends’ Copacabana apartment, and had a photo shoot set up with Marcus and he never showed up–then he showed up two days later at 9 in the morning and I had to drag myself out of bed and collect myself in a hurry to do a 2-hour photo shoot. Marcus is one of the few models I would do that for! This photograph has him in my bedroom on the bed I was sleeping in, sprawled out invitingly. Unfortunately the photograph I liked best was cut off on the left. I wanted a more horizontal composition, so I took another photograph I took at about the same time, and added more leg and bed on the left. Thank goodness for Photoshop!

Extending the composition horizontally and adding a window.

Extending the composition horizontally and adding a window.

Once I had the two photographs put together and had a composition I liked, I wanted to change the mood of the image. The simple bedroom setting was not very exciting to me. I wanted more of a fantasy. I had the idea of adding a window that looked out on a tropical beach setting. So I went looking on the Internet for windows with palm trees showing through them. That was not easy, but I finally found something that was more or less what I was looking for. Using Photoshop, I plopped that window into the upper right corner to see what it looked/felt like. I liked the result and thought, yes, I think this concept is going to work.

First pencil sketch that was getting close to what I wanted.

First pencil sketch that was getting close to what I wanted. (Click on image to go to my art website.)

Using my doctored photographic image, I began sketching. After about 7 or 8 rough sketches, I finally started to get an image that excited me. This required some stylization and simplification, some elongation of the figure, and a “cottage” feeling–which means vertical lines suggesting a simple wood structure, and a window framing palms and an ocean horizon.

Final pencil sketch before I began figuring out color scheme.

Final pencil sketch before I began figuring out color scheme. (Click on image to go to my art website.)

The following drawing was very close to what I wanted. The elements all seemed to be in place. What I needed now was a color scheme. The existing colors of the photographic image were close, but a little boring. I decided that, rather than doing several color studies, I would continue working in Photoshop. That way, when a color area didn’t work, I could easily change the color, or lighten or darken it to see if it helped. This is much easier than repainting a whole area, or starting a new color sketch, until I get the color balance I want.

Layered photoshop image which allowed me to experiment with colors.

Layered photoshop image which allowed me to experiment with colors.

Using Photoshop I was able to cut out the figure from one of the source photographs, elongate and distort it so it fit the drawing I’d created, then “paint” in the color areas on the computer to see how the color scheme was working. This saved me a lot of time, and I was able to fairly quickly find a combination of colors that fit with the fantasy that was taking shape in my mind: colors that gave me the feeling of a lazy afternoon in a tropical beach cottage with a boy I’d met in the city and brought to a little beach town for a romantic weekend together.

The final painting: "Beach Cottage"

The final painting: "Beach Cottage." (Click on image to see the print on my website.)

That ended the preparatory phase of the work, and set the stage for the real work: creating the actual painting. I had worked out the color scheme and had a nice approximation of the feeling I was going for, and that made creating the painting itself much easier. There followed 3 days of taking the rough concept and turning it into a finished painting. I kept the finished work pretty faithful to the final sketch, except for going back to the previous sketch to get the plate and discarded cup on the floor–I thought that was a nice touch, suggesting the relaxed nature of the “lost weekend” I was depicting. I decided to call the painting “Beach Cottage.” I’m very happy with this painting, not least because I took a semi-interesting photographic image and turned it into a much richer painting with a whole story behind it.

This is the rough sketch of Nohea that I liked enough to develop further.

This is the rough sketch of Nohea that I liked enough to develop further.

My latest painting began as a sketch that I particularly liked. This is often how it happens. I was sketching from some shots from my photo session with Nohea and one of the sketches turned out so well I thought, maybe this could be a painting.

Actually I made some changes to the photo before I even began drawing from it. In the photograph Nohea is just letting his hands hang at his sides. It wasn’t very interesting, so I had the idea of having him hold a bottle of water. I went looking for a shot I could borrow from, and I finally found what I was looking for in my photos from the Salvador, Bahia, Brazil trip, April 2007. Among those images I found some shots of Wellington at the beach holding a bottle of water, and I was able to grab that from the original photo and drop it into the photo of Nohea. With a little scaling and tilting, I was able to get it looking fairly natural – certainly workable for my purposes. I also wanted him to be holding his towel in his

This is the source photo of Nohea. You can see where I've added the new arm and the reference photo of the hand holding the towel.

This is the source photo of Nohea. You can see where I've added the new arm and the photo of the hand holding the towel.

left hand, not his right, so I had to borrow a hand and towel from another shot of Nohea, and I just dropped that into the upper left-hand corner of the photo so I’d have a reference when I started painting. This is the kind of flexibility you have with digital photos, and it makes my job much easier.

As you can see from looking at the source photo, the original background was not too exciting. I wanted something that would lend itself to a tropical fantasy – the ocean, some tropical greenery, that sort of thing. So I went looking through my scenic shots for some tropical plants I could use. I have a fairly large library of digital photos I’ve shot over the years in and around Honolulu, shots of palm trees, tropical plants, anything I happen to spot that looks like it might come in handy for a future painting. I found what I was looking for from a series of shots I took one day while walking around Kahala, a neighborhood just over the hill from where I live. These leaves had just the shape and feeling I wanted for the painting.

    I found source material for the tropical greenery among my files of reference photos I've shot over the years in and around Honolulu. This is on a side street in Kahala.

I found source material for the tropical greenery among my files of reference photos I've shot over the years in and around Honolulu. This is on a side street in Kahala.

The color acrylic sketch I used as a reference for the final painting.

The color acrylic sketch I used as a reference for the final painting.

My next step was to draw another sketch and add the sea and the foliage from the reference photo. As you can see, I didn’t copy the foliage exactly. Rather, I tailored it to the composition. It’s a matter of taking different leaves that have the angle and feeling you want, and mixing them with other leaves until you get what you want. The trick is making it look natural. That took awhile, but I finally got the plants to look more or less like I wanted them to; I will most likely totally rework them when I do the final painting, but I have a good beginning. Then I took the whole thing a step further by mixing up some colors and using acrylics to paint the sketch I’d done. This gave me a good solid color study I could use as a reference for the larger painting on canvas.

But there was another element I needed, something in the upper part of the image. I wanted some palm-tree fronds, but I didn’t know exactly what angle they should be, or how many, or what size…I could have done another sketch, or painted on top of the acrylic sketch I’d just done, but I didn’t know exactly what I wanted and I wanted to be able to try different things, so I decided to do it on the computer, using Photoshop. I scanned the sketch and opened it in Photoshop, and using my digital tablet, started drawing palm fronds on the image. As I’d expected, it took several tries before I got close to what I wanted. In a case like this, it’s wonderful being able to hit undo on the computer and

I was able to try out different palm fronds digitally before deciding this was about what I wanted.

I was able to try out different palm fronds digitally before deciding this was about what I wanted.

try something else. In this way I was able to approximate the look I wanted for the palm fronds.They weren’t exactly what I wanted, but they were close enough I was pretty sure I’d be able to make them work in the final painting.

The finished acrylic painting: "Tropical Adventure"

The finished acrylic painting: "Tropical Adventure"

Finally I was able to begin the final stage of this adventure. I used my digital projector to transfer my final color study to canvas, then began painting. I won’t say it proceeded without a hitch, but all the preparation I’d done paid off, and it was mostly just a matter of doing the actual painting. This took about 3 days and many, many hours, but it would have taken much longer if I hadn’t done all the preparation I did! I won’t go into all the details of this final stage, but if you look carefully you’ll see lots of little touches have been added to bring the painting to life – things like highlights in the hair, a subtle lightening along the top edges of the palm fronds as if the sun is striking them from above, reflected bluish light along some edges of the body, the gradation of the sea from dark blue at the horizon to turquoise in the lower areas – and many more details you can spot if you look closely. Of course, for me the thing that makes this painting work more than any other single element is the face. There’s a presence there. When I look into his eyes, he looks back at me. Without that, the painting wouldn’t work. With it, there’s a bit of magic there. I worked hard on this painting, but I also got lucky that the total is more than the sum of the parts, and there is a person there. I got what I was aiming for – a gorgeous tropical fantasy!