The November 2014 raffle painting!
 

Hey all,

I figured I'd start a new thread for the raffle painting this time around, this way the content doesn't get missed if sometime down the line people try to search it out. Or something.

So, the image that Eric has chosen, for those of you who haven't seen it:

http://i19.photobucket.com/albums/b1...psf9f1f73d.jpg

The image finds our hero Babe in the dugout at Yankee Stadium before the first game of the 1932 World Series (the same World Series in which he supposedly called his shot). I would imagine that it was taken at some point before batting practice or something like that, mainly because the dugout seems a bit empty, as well as the seats directly behind the dugout. At the same time, the shadows on Ruth seem to indicate that the time is probably around 12:00, and if I remember correctly from my research, the actual game probably wouldn't have started any time before 1:00.

I think it'll make for a really nice painting, as the light seems to be bright and sharp. Also, there are some really interesting diagonals happening throughout the photo, especially the lines of the seats, dugout roof, and the patriotic tarp as they all relate to Ruth's gesture. Plus, there's also some interesting things happening in the dugout, both with some of warm glow of light bouncing off of the lacquered wood, and also with the fellow sitting down behind Babe (especially with that leg peering out of the shadows).

So, yesterday I made it to my art store and picked up stretcher bars. I assembled them as soon as I got home:

http://i19.photobucket.com/albums/b1...ps0ac6a5bc.jpg

Then, the linen was stretched:

http://i19.photobucket.com/albums/b1...psf2b5e02f.jpg

And finally, primed:

http://i19.photobucket.com/albums/b1...psa9589674.jpg

I followed the same procedures that I normally do, which I outlined months back with John's Hank Aaron painting. If anyone wants to read about why and how I made those particular choices, it's all mentioned in pst #43 of this thread:

http://www.net54baseball.com/showthr...=188067&page=5

Anywho, I'm hoping that I can get the drawing taken care of at some point after the holiday weekend, and then finally get some paint to the canvas!

As usual, if you have any questions about anything, feel free to ask away!

Thanks for reading.

Graig

Powerful image!

Albert

Graig
Your research on this photo is great! I just thought it was a great picture but having the historical setting just adds to it.
I went back and read the thread on John's Aaron photo progression. I am so excited to see the steps that my Ruth painting will be going through soon. 😃

Eric,
I suggest to you to copy this thread for the history of your painting. It is rare when you are able to get a detailed description of how your painting was created, as told by the artist himself. Having that history, years from now, could easily add to the provenance of your painting. It couldn't hurt to have that history.

Bill

Good idea Bill. I'll certainly do that.

Hey all,

Hope everyone had a great Thanksgiving and has since recovered from their respective food comas.

I got around to getting the drawing of Babe down on canvas, so I thought I'd share.

http://i19.photobucket.com/albums/b1...ps5fed17dd.jpg

And also managed to cover the surface with the underwash I use as a ground for the other color that'll be laying on top of it.

http://i19.photobucket.com/albums/b1...ps23cd00bc.jpg

It's going to take a few days to dry, but once it does, I can hop on it and start painting!

Graig

That is neat Graig. Thanks for taking the time to let the board see a part of how it's done. (so to speak)

I love seeing this sketched out stage. I think this piece is going to look great. All Graig's work does but this piece has lots of nice light and shadow areas that Graig is so good at capturing.

Awesome thread!

Awesome! Can't wait to see the end result.

Nick

Looking great! I saw the study pics in the "on the easel" thread and was anxious to see how this was progressing. Brings a smile to my face. 😃

Awesome to see a master at work!

The beginning sketch is just a remarkable process. And it isn't like it took you a month to do. When I emailed you it seems like only in a matter of a few days and you had the sketch done.
Hell, I still would be working of a corner somewhere. A very small corner.

Hey all,

So, I've started on Babe's initial pass of color.

http://i19.photobucket.com/albums/b1...ps4c86a163.jpg

At this point, my main concern is to cover the canvas as much as I can, but that covering isn't necessarily super-precise. It's just important at this point to deal with a general value structure - separating the light plains from the dark plains. You'll notice that there's really not much detail work put into the thing, as I'm just focusing on general shapes. The dugout behind Babe is a good example, as before I can really start fleshing things out, I have to treat it as a simple dark shape. The same kind of thinking applies to Ruth's jersey, as it's also shown as very simple bright form. The thinking behind this is that I want to have the entire thing mapped out properly with those larger shapes before jumping into any detail of any sort.

Usually at this point, I have to put the painting aside for a day or so to start drying. That is, once it's all covered and I'm pleased with what's there in those initial stages. When I return to it, I can start getting a bit more precise with my color choices, which now since they're going to be sitting on top of these initial tones, are going to have a lot more punch to them. And, since the more passes that go on this thing, the more I can play with the opacity of the paint to get certain dimensional effects.

It's also then that I can start thinking about some more detail-work. And that sort of thing doesn't mean that I'm going to focus on an eye or some fingers...well, it does, but I don't think of it that way. Still at this point, it's all about basic light and dark shapes, and then as more goes into it, the smaller shapes within those shapes. Of course, specific areas will have certain properties that I'll need to pay attention to such as warmer tones in cheeks; cooler tones in jawlines; delineation of edges within the lips, and other things like that. But that sort of stuff becomes more important as we get further along.

I'm rambling. Sorry.

Anywho, hope y'all are enjoying the process. If you have any questions or would like something explained further, just chime in!

Thanks for reading,

Graig

Like the Zeppelin song....

Ramble on....

Love the progress. 😀
Like the last post said, ramble on. The details of the progress are appreciated. It looks great already!

Even this early in the process, you can see how great this painting is going to be. Looking forward to the next update.

Bill

There are Kreindlers and then there are Kreindlers. This is going to be a great one. Terrific image choice.

Any Ty Cobb paintings in the future?

Joe

painting
 

your 'initial' stage is already remarkably beautiful.
great work, as always.
best,
barry

Thanks everyone! I do think this one's gonna be pretty powerful.

Joe, I don't have any new Cobbs that are completed, but still plenty in the works. I think the latest one I had been working on was a full-sized version (12" x 16") of this color study:

http://i19.photobucket.com/albums/b1...ps26f94b2b.jpg

Though I doubt it'll get finished anytime soon, unless someone is interested in purchasing it. I still have sooooo much to catch up on!

Graig

Hey all,

Been plugging away at this badboy a bit, and it's fair to say that we've moved into (and are moving out of) the second pass:

http://i19.photobucket.com/albums/b1...ps0ec21e86.jpg

This is where I feel like these paintings start to really take some shape. Juicier paint is added to the canvas, all of which is going over some areas that are already covered, so they end up having more body and being noticeably less transparent. In other words, unlike the the last progress shot, in this one you're not really seeing much in the ways of that cool brownish tone seeping through the colors. Well, it does in some places, but overall, I feel like you start to feel that light.

I've put in a decent amount of work into Ruth's punim:

http://i19.photobucket.com/albums/b1...ps76750cb7.jpg

So things there are looking pretty sharp and resolved, though there's still some stuff that needs my attention. I've also started adding some glow to the edges on the shadows going across his face. That intense chroma makes the light really pop, something that will be more evident in the later stages of the painting.

One of my favorite parts of this painting is definitely going to be the red of the flag draped on top of the dugout. With all of that surrounding green, it makes for a wonderful contrast.

Anywho, as per usual, thanks for reading, and if you have any questions or comments, fire away!

Graig

Graig,
That Babe is looking awesome!

Graig,

Incredible work, as always!

I'm wondering: Is there ever a piece/subject or an idea a client has that you have rejected, or have thought 'this just isn't going to work.'

Thanks,
Andrew

Really coming along nicely Graig, it's starting to pop!

Gorgeous already...

Amazing!

-Nick

Thanks so much, everybody! I'm glad that you feel it's coming along.

Andrew, for the most part, I feel like when it comes to baseball paintings, I'm down for most ideas. I remember that when I first started, I only wanted to do large, sprawling panoramics and never smaller portraits. Eventually, I found myself liking the smaller portraits, but not so much those taken in a studio. My thoughts have changed on those over the past few years too, thankfully.

Really, the only thing I really don't enjoy doing (and more often than not say 'no' to) are those that I call 'montages'. I know the term's really meant for film, but I thought it kinda fit with a certain style of artwork, too. I'm really referring to a kind of painting that might have a large portrait on it with a few action images in the background, and doesn't necessarily depict an actual scene. It's not that I don't like those who make art like that, and I've definitely seen some incredible pieces done in that kind of picture-making style, it's just not really the kind of stuff that I want to paint. I'm a lot more interested in capturing a moment than.

I'm also not crazy about adding a client's family members (or the client him/herself) into a painting. I've done it a couple of times when it hasn't been super intrusive, and those paintings have ended up working well. However, there were a couple of commissions I did many years ago where the buyer was dead-set on seeing himself depicted in each one, and much more-so in a way that was pretty obvious. Neither of the two ended up being paintings that I was proud of because of that fact. I definitely understand what the appeal was, but in the end, again, it just wasn't the kind of stuff that I wanted to paint.

And of course, I don't say any of this stuff maliciously, as I'm always grateful that people even want to pay me to do something I love to do, but in the end, I think it's more satisfying to my soul to follow my own artistic inclinations, and to be honest, when I'm able to do so, I feel like the client always gets a better painting.

Graig

"Progress is our most important product"
 

Wow! Looking great.
It's nice to see the progress being documented like this. I never realized what went in to creating a painting.
You are not "just" a artist, you are an architect and a builder! Thanks for sharing.

Thanks for the response! It's been a privilege to read/view your insight into your process.

Andrew

A couple of really dumb (but nagging) questions for Graig...

1. How do you know it's a flag that's draped over the dugout? I could never have discerned that much from the B&W photo.

2. Is the man sitting in the dugout behind Ruth (in the Fedora) going to be left out of the painting?

It appears so, but am interested in "artistic license" aspect and/or rationale for leaving him out.

Thanks!

My eyes must be half bad because I don't see a flag but do see the leg of the sitter being developed

Thanks for the kind words, fellas!

Mark, in response to your questions:

1) In my files, I actually have a few photos of the top of both dugouts from the '32 World Series, where it shows the flags in better view. They weren't traditional American flags either, but ones with just three horizontal stripes (like the German flag) in red, white and blue. Here's a shot of Babe and Lou from the actual game itself, and it shows what I'm talking about (albeit in black and white):

http://i19.photobucket.com/albums/b1...psf95b0603.jpg

(PS: This would also make a killer painting, especially with the fella doffing his hat.)

2) The fedora guy is definitely going to be in there. Since he's in the shadow of the dugout, I haven't really done much with him just yet. But if you look towards the end of the bats on the right, you'll notice a white and gray blob, which is his leg peering into the light. So yeah, he'll be worked on soon. Eric actually was pretty set on having some sort of action going on in the dugout, so I think that kind of played a role in his choosing of this image.

Thanks for chiming in!

Graig

As others have mentioned here, thanks for all these details with each step. I, like others, didn't realize how in depth the process was for a painting like this until I started reading the "on the easel" thread and the progress on John's Aaron painting and now mine. It's a real privilege to see the progression, especially knowing where it will end up. 😀

Thanks Graig... It is looking incredible :)

The amount of research that Craig puts into the process prior to starting to paint is amazing in of itself.
The photo of the red, white and blue stripes on the dugout is such a cool fact to build into making this painting even more authentic....

I have an original of that photo. It was taken from Game 1 of the WS.
It's not in the greatest of shape, but hey, it's Lou and Babe, so I'm not complaining.

Graig puts an incredible amount of work into the details. That's a big reason why I think his paintings come to life the way they do.

http://img.photobucket.com/albums/v2...32withRuth.jpg
http://img.photobucket.com/albums/v2...withRuthsl.jpg

Graig, very interesting thread and confirmation in my mind that you paint like an old master in technique as well as result.

Good job staying away from "montages" as I find them cheesy no matter how well painted. It works fine for a 1956 bsseball card but I wouldn't want one on my wall. If someone wants an action shot and a portrait he'd be best served commissioning two paintings.

Thank you for your enthusiasm, everybody! Who's excited?

<---- This guy!!!

Howard, I agree. And that's happened on occasion. There was one fella who wanted a painting with Wrigley Field and Ernie Banks in it, but not so much of an action shot - more along the lines of what you were describing. It took a while, but I had to convince him to go with two separate canvases, which in turn became:

http://i19.photobucket.com/albums/b1...pscc7ff5e1.jpg

http://i19.photobucket.com/albums/b1...psd398184f.jpg

I'm super thankful he listened. These two are still two of my favorite paintings.

For me, I just feel like when you start doing those other kinds of pieces, they become a LOT less about the actual artwork, and more about the player. I mean, not that that's a bad thing, but ya know, it's just not how I want my paintings to feel, if ya follow.

Graig

Graig, I can see why...I am a huge fan of Rockwell's baseball illustrations. The first painting of Banks evokes that same warm feeling of Americana. The detail in your Wrigley painting is mesmerizing.

That Banks is one of my favorite baseball images. There is something so wholesome and romantic about the relationship between the player and the kids.
Oh Yeah. The guy who painted it is pretty good too!:rolleyes::D

Exactly what I thought when I saw it. Strong Rockwell vibe in the Banks painting.

Great job, Graig. Far better than what the client originally asked for could have been.

Love the Banks. Maybe my new favorite Kreindler painting.

Merry Christmas all.

Hey everybody!

Hope this post finds y'all well and at the start of a good year.

I've been working a bit on Babe, though it might not look like much has been done:

http://i19.photobucket.com/albums/b1...psnhsn4hyp.jpg

I'm at the point where everything is pretty much blocked in, and it's just time to start fleshing it out. And by that, I mean starting to pay attention to detail and a bit of nuance here and there. It's actually my favorite part of the process, because at this point, there have been two passes on the painting, so now when paint and color is put down, it looks a lot bolder and less translucent. So, it's exactly the kind of surface that allows me to play!

Anywho, I've been working out the seats behind Ruth, as well as his hands and legs, then am starting to approach the bats and rack.

Soooo, we're getting there!

Hope you all dig it.

Graig

Oh, I dig it alright! Looking good (wipe drool).

Amazing piece Graig!

So much detail and it isn't even done.

-Nick

What is great about this process is that it takes two great artists to complete the process that we are seeing. First, the photographer who took the photo. An incredible eye to capture that piece of history to begin with.
The second, Graig bringing that piece of history into color, and adding more life to the original photo. Two great artists, and we get to watch the second half of this piece of history, come to life.
Graig, I know the photographer would be very proud of what you are accomplishing. One hellava artist you are.

Eric, You are a lucky man.

I'm just now seeing this post...AMAZING work...keep us posted!

Such great work, it is really coming to life!!

WOW!!! Babe looks terrific! :cool: