Quent Cordair Fine Art

This image shows the canvas fully sketched and ready to paint. A close comparison with the scale sketch will show that I have zoomed in on the figure, eliminating a portion of the window and room on the right side of the picture. I decided to do this both to emphasize the figure, which is the most important component of the composition, and to make the composition feel a little more intimate and cozy. I also reworked the chair just slightly, making it a bit smaller and more fit-to-be-curled-up-in. I think this feels a little closer to the original compositional sketch.

I received a comment on the scale sketch step regarding the pose of the figure. I think it is already apparent from the more carefully sketched figure on the canvas that the pose is actually quite relaxed and comfortable, even though it has been changed slightly from the original composition. Let me know if you agree.

Once the figure was sketched in to my satisfaction, the much simpler, yet still time consuming process of sketching in the architectural elements around her began. I find the grid system basically useless for this process, since the slightest misalignment of parallel lines in perspective can be very distracting. Instead, I begin by lightly blocking in the rough dimensions of an element, say, the fireplace. Then, I determine the height of the horizon line, and relative position of the main vanishing points (these are usually well out of the picture plane…. In this case the right side vanishing point is 15 inches right of the edge of the canvas, and the left side vanishing point is more than 60 inches left of the canvas). I then attach a long string to the wall or other convenient fixture at each vanishing point. The string can then be pulled taught across any point in the picture in order to mark off beginning and ending points for the outside lines of an object. It sounds much more complicated than it is. Once the perspective is established, I then go in and freehand the actual shape of the object using the perspective lines as a guide only.

At this point, on other pieces, I have then proceeded to trace over the final line of the sketch with a permanent drawing tool so that the grid and any compositional assist lines can be erased, but in this case, as will be shown in the next few updates, I am going to block in the entire picture with full values of burnt umber, black and white instead to begin figuring out the lighting.

I am currently in the process of sketching the composition onto the canvas.

Before that could be done, the canvas had to be prepped. I paint on linen, which I stretch myself (I have yet to find a reliable supplier of pre-stretched linen canvas). The linen is sized by impregnating it with a water-based hide glue. This provides some dimensional stability, but more important, it acts as a barrier between the oils and the linen. Since the glue is water based, it can be dissolved with water, allowing the old canvas (in the distant future) to be carefully removed from the painting and replaced with a new one if necessary (this is the main argument against sizing and/or priming with acrylic which is unable to be removed safely once dry). Over the sizing I paint two coats of primer, a mixture of flake white in linseed oil (Flake white is very dimensionally stable and dries to form a very tough yet flexible film, unlike Titanium which is much more brittle when dry), Burnt Umber (a safe under-painting pigment added only to give a mid-tone hue to the primer…personal preference), and turpentine.

I generally use, as in this case, a grid system to transfer the general proportions from the scale sketch (last step) to the canvas. (When sketching on this scale I am often too close to the drawing to see the proportions correctly.) Then I sketch in the details from the reference material, tweaking just a few things to get the composition just right. This can sometimes be a lengthy and tedious process, and I tend to spend a lot more time and attention on this step than many artists. I have found that the painting goes more smoothly, and more quickly in the long run, if the sketch is perfect before any paint is applied to the canvas.

In the next post I will provide images of the canvas fully sketched and ready to paint.

After a lot of messing around with the proportions of the chair I finally settled on a design. It is basically the same chair as in the previous sketch, but wider and slightly deeper to accommodate the figure’s legs.

From the angle of the chair and the vantage point I wanted with respect to the figure, (just about shoulder level) I established a horizon line and main vanishing points. Based on those references I laid out very rough outlines for the placement of the fireplace, the corner of the room, and the window. This step also went through several variations before I was comfortable with the overall effect.

I very rarely work from a sketch without adding at least a little reference value (shading) to clarify the image. In this case I used very rough values to further define the shape of the mantle and fireplace, drop the corner of the room back in to the background and accentuate the figure. All of this is done just to help me visualize the entire composition more clearly as I begin to transfer it to the canvas, which is the next step.

Items that will probably change as the canvas is sketched; including the layout of the cityscape, the floor details, the stonework of the fireplace, and the trim around the window. As I get the values blocked into the painting, I may decide to add an area rug to the large open floor space to the right of the figure to balance out the composition.

This is the first study of the actual model I will use for the piece. I spent several hours (and two separate sessions) with the model experimenting with slight variations on the pose. I am quite pleased with the final result. The challenge now is to make the pose work with the chair. I found a chair which almost perfectly matches the design in the compositional sketch, and also has a very lovely and subtle fabric design. The problem is that I will be unable to photograph the model in that chair. The photos of the model were taken in a chair of nearly the same proportions, but with a much less attractive overall design and quite hideous upholstery. I have photos of the better chair from the same angle, and in similar light, so I will do several sketches of the model in the right chair in order to work out the subtleties of the combination. This is the first of those sketches that comes close to working. I may have to do some re-designing of the seat in order to give the model’s feet something to rest on.

At this point I still haven’t found a fireplace that I like at all for the background, and am beginning to suspect that I will have to find some stone samples to use for the texture, and then invent the rest.

I have always loved the idea of sitting by the fire reading during a snow storm. It is no small accomplishment of civilization that a once life-threatening storm could become a beautiful and peaceful backdrop to a relaxing evening; and that a fire, once a necessary element of survival, could become a luxury simply to be enjoyed.

That is what I will portray in this painting.

Visually, I am excited to play the warm orange light of the fire off of the cool blue light of the city outside the window, and the linear design of the fireplace, the window, and the city architecture off of the smoother organic shape of the figure. The various textures of the stone, the fabric of the chair, the floor (stone or hardwood) and the skin should also add interest and contrast to the piece.

In this compositional sketch, I have just roughed out the basic idea for the piece. Some minor details of the pose may change, and I am fairly certain I will end up lengthening the composition to allow for a wider view of the cityscape. My biggest concern at this point is finding reference material for the fireplace, which I love compositionally, and effectively giving the feel of the firelight to the finished piece since I will most likely need artificial light to take the reference photos.