View Full Version : South Side of 46th Street Off Time Square x/post oil painting

03-26-2018, 11:18 AM
Oil on Canvas, 48x48. I used to eat lunch across the street for years. On this day the sun was reflecting off a skyscraper on the North side back onto these buildings. It was a baffling effect which I found it quite moving. I was worried about trying to pull off such an odd play of light in paint, but I'm happy with the way it turned out.

03-26-2018, 11:57 PM
I am in awe of your work. I keep coming back to look at it again (and again) - and again. This sir is just marvelous in every way. Would love to hear how you went about painting this - what was the reference, how long did it take, did you do a value study, palette etc.... anything you want to share would be of great interest. If you're comfortable doing that.

03-27-2018, 12:05 AM
Thanks so much! Iíd love to tell you all about it but Iím writing this on my phone at he moment and it would be hard to do with my thumbs. Iíll try to write up some details when Iím on the computer tomorrow.

Mark (Kram backward)

03-27-2018, 12:07 AM
I can answer one question quickly: it took FOREVER.

03-27-2018, 12:19 AM
I can answer one question quickly: it took FOREVER.
Kinda new that already. Please come back and talk when you have time and are in the mood. anything you have to say will be of interest.

sea dangler
03-27-2018, 03:43 AM
Excellent work as I said on the oil painting forum!,glad you found your way to this forum.

03-27-2018, 03:13 PM
Thanks again for asking about process. This painting is a great example of how I go about large figurative work. Below are some notes about how I went about it and what I was thinking. But I thought it would be cool to make a video showing the whole thing - from idea to finished work. Here that is:



Step 1. I wander around with my camera sure that I will never find another subject worth painting. Keep going because I know this is a lie.

2. Take lots of photos of what strikes me as interesting. Keep going even though my feet hurt and I'm worrying that people think I'm an insurance investigator or the INS until I'm actually seeing.

3. Bring the images into photoshop and try different ideas out. These paintings take MONTHS (in this case probably about 5 months.) If I REALLY like whats happening I commit to a painting. Often what gets me excited is something I'm afraid to try - in this case all the signs. I just had no idea if I'd be able to pull that off! So this is the one I went with.

4. Grid canvas and draw it out. Even after all this time can't shake the feeling that this is cheating. Impulse is to hide this step. Worry that I still worry about this.

5. Realize that I'm thinking about other peoples judgement and that will lead to a BS painting. So stop doing that for several min at a time.

6. Start painting.

7. Pull hair out. Wonder why I tried to take this on.

8. As I'm working on it everyone who comes through reacts very strongly (positive) - from people who don't really think much about art from my ex-wife, the plummer and cleaning lady to art fans and artists. That feels great. Probably the best response to a painting I've had.

9. As it progresses things change dramatically - particularly color and values (this painting weights about 300 lbs and reduced my tax bill to zero in deductions for cost of materials).

10. I feel great about this painting. The signs (which was what scared me in the first place) are probably the thing that people respond to most. I've got all sorts of theories about why this is. Fundamentally I think its this: the signs aren't perfect (I didn't want them to be photorealism). I just wanted to commit to them 100%. Focus. Focus Focus. I kept thinking 'I love this brush stroke. This isn't a sign it is a brush stroke. Love this brush stroke.' I think that's what people respond to.

03-27-2018, 05:30 PM
Thanks so much for that. What amazes me even more than the signs is the depth of detail on the interior of the shops. THe signs project forward in the picture plane, the interiors project back- giving the painting a real weight and presence. THere is a warmth and humanity particularly brought about by the treatment of the signage and the detail on the interiors that you don't get in photorealism. The street barricades are not to be discounted, the painting would be less without them - this is a real scene a real place under continuous construction not a posed set.

That photo-shopping must have been like water-boarding, your studio is a notch above a dungeon but you carried on, survived for five months. Thank you.

06-01-2018, 01:02 PM
Wonderful painting!

06-03-2018, 08:14 PM
Oh, wow!

That is magnificent! So much detail and character, and I love those signs! The skyscraper light effect is subtle, but beautiful, too.