Professor Paint

Triptych, Step 3

2012-10-25T09:08:00.001-07:00

This is the third installment on the triptych I’m producing for Light of Christ Anglican Church. You can find the first two installments on this blog or by clicking on the hyperlinks below.

Triptych, Step 1

Triptych, Step 2

To the left, you can see photos of the various stages of my most recent progress. You can also scroll down to find a video that documents the changes step-by-step.

Installment two ended halfway through the underdrawing of the center panel. As you can see, I have since finished out the underdrawing. In specific, I added the wall of Jerusalem; shaded the figures; included cherubim above the cross; added the initials of each figure; wrote the text for "Jesus of Nazareth King of the Jews" on the headboard; and added the Greek for crucifixion above the cross.

After finishing out the underdrawing, I moved into the underpainting. This underpainting consists of a series of acrylic washings. The first wash was a simple yellow ochre over the entire piece. I followed this with a series of washes, using various combinations of yellow ochre and burnt umber, that added value to the surrounding objects.

The final stage was the initial application of gold leaf to the halos of the Theotokos, Jesus, and John. In this first application, I used acrylic gold paint. In the final stages, I will cover this with gold leaf.

In my next installment, I will move into oil paint. So, be watching for more.

Dürer Study

2012-10-17T12:45:00.000-07:00

I've been asked to produce an engraving for an upcoming academic volume. In preparation for the work, I've been doing two things (in addition to purchasing the necessary tools, of course). First, I've been practicing drawing (or more accurately, carving) on a copper plate - something I haven't done since college. Second, I have been studying the prints of Albrecht Dürer.

I spent yesterday reproducing one of his woodcuts line-for-line in ink. The experiment was a master lesson in drawing, to say the least. The results (with which I'm quite pleased) can be seen to the left (click to enlarge).

The study was of enough benefit to me that I plan to work on several more Dürer reproductions in the future, learning as much from him as I can. My hope is to work toward reproducing some of his prints in the proper format, vis-a-vis, engravings or woodcuts. JBU, to my delight, has an art professor (Bob Martin) who has expertise in printmaking. He has agreed to help coach me through the monograph etching. I expect he'll be a wealth of information as I study Durer as well.

Triptych, Step 2

2012-07-06T09:22:00.000-07:00

Greetings from Professor Paint!

In my last blog post, we saw the initial stages of a triptych, commissioned by Light of Christ Anglican Church, on which I am now working. If you did not see that post, you can find it here. Or you can simply watch the video blog here.

Today's post offers a second installment on the under drawing of the center panel on which I started last time. You can see the results to the left. To watch the evolutionary stages between the last post and this one, simply watch the video post below, or click here.

The long and short of the development is this. Last time, the under drawing included the outline of the Christ figure and St. John the Theologian (right hand side). Since then, I added the skull of Adam, through whom death entered the world, (seen beneath Christ's feet) and the Theotokos, the Mother of God (left hand side). I then added the stony ground of Golgotha and the cross of Christ, which includes both the foot board, which indicates that this is a Roman, rather than Persian, cross, and the sign inscribed by Pilot above Christ's head, which will read INRI, or Jesus of Nazareth, King of the Jews (Iesus Nazarenus, Rex Iudaeorum).

The last stage of the under drawing will be to add the wall of Jerusalem in the background and the details on the three figures, Christ, John, and Mary the Theotokos. After that I can begin on the under painting. Be watching for more, and, as always, enjoy!

Triptych, Step 1

2012-06-09T10:12:00.000-07:00

Greetings from Professor Paint!

Now that I have finished myicon of St. Ancmon (left) (see the evolution of the piece here), I’m beginning work on a triptych that was commissioned by Light of Christ AnglicanChurch. As the word "triptych" indicates, the piece will consist of three panels. The panels of this particular triptych will include a creation icon (left panel), a resurrection icon (right panel), and a crucifixion icon (center panel). In addition, when the panels are closed - they'll be hinged to the centerpiece - a fourth icon of Christ the Light Giver will be revealed on the front of the triptych.

My initial focus will be the center panel - the crucifixion. Below is a video that documents my first steps on this centerpiece. You can also see a still image of the current state of the panel below the video window. Be watching for updates in the coming weeks. Enjoy!

St. Ancmon of Seleucia - FINISHED

2012-05-25T14:42:00.001-07:00

Anyone who has viewed this blog in recent months knows that I have been working on an icon of St. Ancmon of Seleucia. Nearly one year ago, I started the piece on canvas - something I had never used for an icon before - and after mixed results, I scrapped the original after ca. 8 months of wrestling, on and off. I then started afresh on board - what I typically use for icons. (This marked the first post on the piece for this blog, which can be found here.) The results were much more promising and consistent. However, my time was more limited, so the process dragged out for longer than I would have liked. After much ado, the piece is finally finished. It was actually finished weeks ago, but I did not want to spoil the unveil for the man who commissioned the piece. (I know he views this blog from time to time.) I presented the finished icon last Friday, followed by an informal theological lecture to small group of elders, among whom the patron was included. Things went well.

Below is an image of the finished icon. (The photo is by my priest, Fr. Eirik Olsen of Light of Christ Anglican Church.) I'm very pleased with the results. I have also gone ahead and created a video that documents the evolution of the icon from start to finish. That can be found below as well. I think it helps highlight how much work went into bringing this icon to completion. Enjoy!

ST. ANCMON Nearly Done

2012-02-03T14:58:00.000-08:00

I moved into oil glazes today. I must admit that it has worked very well - at least as well as expected. I'm delighted with the results, which you can see to the left.

One more day of painting, and this project will finally come to a close. Be watching for the end result. Enjoy!

ST. ANCMON of Seleucia

2012-01-14T14:40:00.000-08:00

I was recently commissioned to produce an icon of St. Ancmon of Seleucia, an early bishop who was made bishop of Seleucia by St. Paul. The piece was commissioned by a man whose last name is Ancmon, and he requested that I model the icon in part after his brother, now reposed, Fr. Ancmon. I'm delighted to do so.

I began on the piece yesterday. By midday, I had the under-drawing completed. I then set in with the first layer of acrylic wash. This morning, I started in with additional layers of acrylic wash until I had a complete tonal under-painting. I set in with the gold, and now the piece has passed up the original painting on which I worked for months. You can see each of the stages below.

The next step will be to move into oil glazes. The under-drawing and under-painting will continue to show through, but the oil will up the contrast and add color. Once this stage is done, I will seal the entire piece with varnish, and it will be done - finally. In the meantime, enjoy these initial images of St. Ancmon.

Taking a Shot at Photography

2011-01-12T15:38:00.000-08:00

With the semester starting back up, I have fallen behind on my painting. I did, however, have the privilege of serving as the photographer at the Dedication Service at Light of Christ, Anglican Church. I'm rather pleased with the results. So, I thought I would post some pics, despite the fact that this blog is dedicated to painting. Enjoy!

Remaking an Icon

2010-08-01T12:24:00.000-07:00

As mentioned in a previous post, I produced my first icon before I had a proper understanding of iconography - either its theology or its imagery. However, I now have a much more thorough understanding and appreciation of both the imagery and theology of icons. For this reason, I have decided to redo this first icon (left).

Though I had already sold this painting, I convinced the owner to allow me to produce a proper Christ pantocrator icon over the original. My plan is to use gold leaf - rather than gold paint. I will remove the text from John 1:1, and replace it with the traditional IC XC. And I will paint Christ in a traditional Byzantine style - as opposed to the peculiar mix of Byzantine and realist styles. Unfortunately, I do not think egg tempera is an option at present, so I plan to use oil, which is my preference. (The original is painted in acrylic.)

Step 1 is to blot out the original, which I have now done. You can see this first step to the left.

Next, I trimmed the board for a tighter composition. I then went ahead and applied gold leaf and begun repainting the Christ Pantocrator properly. You can see the stage at which it currently sits (left).

(My apologies for the less-than-polished photos. I will be sure to get a more professional shot when I finish the painting.)

Since this is my first time using gold leaf, the current look of the gold leaf is not as smooth as I would have hoped. I can't say for certain if the problem has to do with the chosen materials (I opted for a new fast-application gold leaf), or if the problem is on my part. We'll see as I continue to experiment.

I was also surprised to find that the oil paints simply do not stick to the gold. For Christ's nimbus and the IC XC on either side, therefore, I have chosen to carve these images out of the gold leaf, allowing the paint beneath to show through. I may also apply some additional paint in the grooves - we'll see.

I'm certain this is not the traditional way, but I like the result. See the detail (right) for an example.

The face of Christ is now starting to take on a more or less finished look (left). At present Christ's face is the only thing that currently has such a look.

I am more or less pleased with the results heretofore. I believe the piece is now finally looking like a proper icon. I hope to move next into the detailing on his hands and garments. Be watching for additional photos and updates as I move into those next steps.

4' x 4' Crucifixion

2010-07-30T07:31:00.000-07:00

One of my current projects is a longterm project. It was originally plotted as an 8' x 8' Grunewald-style crucifixion. The two sketches below (each only a couple of inches big) show the original vision. The center piece (image 1) was the central 8' x 8' focus. But I intended to attach two additional panels - each 4' x 8' - on either side. The panoramic sketch (image 2) shows the complete concept.

IMAGE 1

IMAGE 2

This original vision underwent a shift as I tried to address the nudity issue. I did not want to resort to the usual loincloth, so I tried to think of ways to hide the genitals. An idea I began to toy with was having Mary Magdalene, in a moment of rebellion against the humiliation being inflicted on Christ, attempts to cover his genitals (image 3).

IMAGE 3

This strategy for dealing with the impending nudity resulted in a change of composition. I began to toy with a 3/4 angle. I also began moving toward a more complicated and cluttered composition - much more hustle and bustle (image 4).

IMAGE 4

After settling on this route I set in on anatomy studies (image 5) and light studies (image 6). The former is just a small sketch, while the latter was a photo shoot with a group of students from Calvin College.

IMAGE 5

IMAGE 6

Following the light study, I felt I was in a position to move ahead with the actual painting. Because I was, at the time, in an apartment, I was limited on space. Therefore, rather than moving ahead with the planned 8' x 8' panel, I halved it to a 4' x 4' panel. Images 7 and 8 are shots of the under drawing.

IMAGE 7

IMAGE 8

Shot 10 is the stage at which the piece currently sits. God willing, I will return to this piece sometime in the not-so-distant future.

Portfolio Samples

2010-07-29T22:37:00.000-07:00

Before tracking my current paintings, I thought I would post some of my finished pieces from my portfolio. Additional (and higher resolution) portfolio images can be found at the following sites:

Finished pieces:
Finished works on Facebook
Finished works on my homepage

Unfinished pieces:
Unfinished works on Facebook
Unfinished works on my homepage

Much of my work in art school involved painting models. The following two paintings are good examples.

To the left is a reproduction of a portrait. The piece is done in oil. I am fond of the chiaroscuro style, reminiscent of many classical works that have inspired my own artistic pursuits. This high classical style I plan to cultivate in a number of my upcoming projects.

The second work (right) is done from a model, who regularly posed at MICA. Also done in oil, my efforts here were to step out of my comfort zone a bit and work much more loosely. Much of this particular painting was done with a palette knife. In many places the paint is heavily applied, while other areas (specifically in the background) are applied with a rather thinned paint.

In addition to working from models, I would often produce self-portraits. After all, if no model is available, you had best be your own model. I have pasted below two such self-portraits - both oil paintings.

The first (left) is in many ways a synthesis of the two paintings previously discussed. It is a portrait much like the first. It aims at a certain amount of high realism. At the same time, it aims at utilizing the looser style of the second portrait.

This second self-portrait was a peculiar work for me on several fronts. First, I was using an extremely restricted palette. I wanted to see how many colors I could pull from only black, white, and a few earth tones. Second, I was working on a canvas that had very little gesso applied, which made it more adsorbent than what I typically worked on. Third, I was aiming at a high realism, but looking to produce the painting in a single sitting. And finally, though I was aiming at realism, I was working from a mirror that was slightly warped and quite intentionally placed at an odd angle. I am rather pleased with the result.

Some years back, I decided to begin exploring alternate styles. That is, I began looking at more than loose or tight oil painting, and began playing with out-of-the-box techniques. One technique I toyed with was a mix of pencil or charcoal drawing and acrylic washes.

To the left is my first effort. As you can see, the washes are very thin. Since I was using a very classical image (viz., a traditional pieta), the goal was subtlety and softness.

The painting on the right is more heavy-handed. Rather than pencil, I chose to use charcoal; the washes are thicker and more washers were used; and the whites are added back in with white pencil, rather than coming from the gesso beneath. This piece was meant to look a bit more edgy.

One final experiment I will mention before closing out this post is my early flirtation with iconography. While I now do traditional Eastern Orthodox iconography, when I first began exploring this type of art, I did not abide by the rules of iconography.

To the left, you will see my first efforts in this area. I took a traditional pantocrator icon, but I modified it. Rather than using the traditional flattening techniques, I attempted to capture the more awkward anatonomy of more flat icons, but simultaneously aimed at giving some three-dimensionality to it. I also did not abide by the traditional texts, but added my own choice of text (Jn 1:1 in Greek) in the background. This is not to mention the fact that it is painted in acrylic rather than egg tempera, and the gold is not gilded; it is acrylic paint as well.

To the right is my second effort. This one, again, springboards off of traditional iconography, but modifies it. The painting is really a combination of traditional iconography and Grunewald. The imagery is a mix of traditional images and my own ad hoc modifications. The painting was produced for a Greek Orthodox woman. To my surprise, she managed to have it blessed - although, only after I made a handful of modifications, per the demands of her priest.

I now have a great deal of reverence for iconography and would not dream of modifying it. I paint it strictly according to its traditional guidelines. But, at the time of these two works, I was both ignorant and irreverent.

I look forward to sharing my more recent projects.

About "Professor Paint"

2010-07-29T20:55:00.000-07:00

My name is Nathan A. Jacobs. I hold a Ph.D. from Calvin Theological Seminary, and I am Assistant Professor of Religion and Philosophy at John Brown University in Siloam Springs, AR. For details on my academic publications and activities, see the following sites:

http://nathanajacobs.com/
http://jbu.academia.edu/NathanAJacobs
http://www.jbu.edu/majors/philosophy/faculty/?faculty_profile_id=8688

Prior to my studies in philosophy and theology, I studied fine arts painting and drawing at the Maryland Institute College of Art (MICA) in Baltimore, MD. Though I never ceased to be passionate about the fine arts, I chose to take a different vocational track. Despite this change in career, I continue to paint and sell my artwork as often as I am able.

This blog tracks the progress of paintings on which I am currently working. Quite simply, this site is an online painting journal, where I will post images that update the progress on my current projects and discuss the challenges and successes faced along the way.

Let the painting begin. Enjoy!