2017 has been a slow one for me in term of painting new work. My two boys (Buda & Dalai) are growing fast and they need more attention. Well, something gotta give, right? Plus, I bought a violin a few months ago and got addicted 😉 – Good stuff !
I’m not very good at updating my own website. I exhibit most of my works on Instagram (@studiobuda) and Facebook (Khanh N Huynh).
Lexi is another beautiful model from Portland OR. She has an innocent face and a haunting gaze that is both mysterious and curious. The way she rests on the couch was simply captivating to any painter. I converted the photos that I want to pain to back & white to free my mind from thinking of color and simply let the composition dictates my choices of pigment. I will definitely paint more of her as time permits
MODEL: Olive Glass.
These paintings are inspired from a wonderful Portland OR model. The “Olive” series continue to grow. I wonder if they’ll ever be seen in public since figurative works are not a hot commodities here in the Portland area (been turned down by many galleries and I’ve given up trying).
I updated my website once every 2 months now. The main platform that I show my work now is FaceBook and Instagram. Find me! (FB: Khanh N. Huynh, Instagram: @studiobuda)
More to come. Thanks
Khanh N. Huynh, MD
Most of these painting are 11×14 format. Oil on boards.
I started this series in the beginning of 2016 based on inspiration from a beautiful Portland OR model. They’re all still available. My goals for this year is to keep painting beautiful models and hopefully will grow my collection of beautiful works.
I do keep an active profile with FB (Khanh N. Huynh) and Instagram (@studiobuda) if you want to see more works.
Khanh N. Huynh, MD
SETTING UP THE STILL LIFE:
I wish that I have some insight regarding setting up a still life (I DON’T). I just placed the objects in random order and paint.
THE PAINTING PROCESS:
Figure 1: I placed the 2 darker masses (the red bottle, the tea pot) on the board and quickly indicate the lighter masses (the cabbages) with a few simple lines. Keep in mind that they’re not in proportion at this stage. I wan to keep the drawing spontaneous as much as possible. For me, a careful drawing at any stage will eventually kill the creative person in me and I will avoid it at all cost. Plus, the act of adjusting (or pushing/pulling) the shapes to get them into proportion will keep the edges soft and interesting. For this painting, I keep a timer on so that I can take a picture at every 10 minutes
Figure 3: I was somewhat happy with the color and value of the main objects. It’s time to enhance these colors/values with the background while pay close attention to the passage of light. Whenever I place a stroke down, I make an effort to improve the drawing to its correct placement and proportion.
Figure 4: This step is not for everybody! Using a palette knife, I scrapped the thick pain away from all surface of the board. This simple step took away the initial brush strokes and reduce the whole board to a mere color impression (see next picture). For the background, where I know that its details should be reduced to improve the focal point, instead of scrapping, I pressed the palette knife down and create pattern.
Figure 5: After the scrapping. The image is still there! But now there is NO brush mark. The reason why I employ this step nowadays is to avoid making mud on my main subject. Plus, I want the initial crude brushwork (during the composition finding/blocking in) won’t interfere with the final brush mark which usually designed to follow the contour of the object, lighting, and value pattern. These later strokes require more dexterity skill and thinking during execution.
Figure 6: NOW, start with the green cabbage in the middle, I start putting in the detail. Again, I continue to take picture at 10-15 minutes interval to see how I progress.
Figure 7: Finishing the final detail for the cabbage and moving on to the next subject. I made a clear discipline (for myself) that I will not touch any portion of the painting that is deemed “finished”. IF I decide to rework on an object, that area will be again scrapped off and repainted. It is mainly to keep the fresh alla prima look through out the whole picture. Of course, at the end, I will make sure that the highlights are included
Figure 8: Painting the tea pot. The dark purple is created from Ultramarine Blue (Rembrandt) and Alizarin permanent (Gamblin)
Figure 9: Now I concentrate to work on the red bottle. I have to tone down the Cadmium red down with Alizarin since it become much much brighter placing next to the green cabbage.
Figure 10: Working on the background a little
Figure 11: The color of the actual salad trunk was about the same intensity of the cabbage. However, in order to focus the focal point to the cabbage, I reduced the value and intensity of the salad trunk (and the broccoli in the back)… And everything seem to fall into places.
Figure 12: Finishing! I placed the signature (for now) but I will have to take a final look after the whole painting is dry. You can eliminate repainting the shadow (and dark background which usually become lighter when it dries) by reduce the amount of medium (oil or turpenoid) in your paint. I simply don’t use any medium at all (may be 4 drops of oil on my palette and that’s it!)
Here are two small clothed figure that I painted this week. I will never get tired of painting the human figures but I need to changed my approach somewhat. Putting clothes on models is one method! I’m still very much attracted to paint small. It is actually harder to paint with small brushes than with larger ones since it requires sitting down and concentration. Plus, the small size boards make it easier to store and is relatively cheaper.
It’s now spring in Washington/Oregon states and I wanted to get out to the field and paint landscape more.
Thank you for checking in with my progress.
These are painted from the New Master Academy stock. I’m still working to finish my goal of completing 100 nude paintings from this online Academy. May be I should splitting even 50 males and 50 females… may be