Scott Kennedy

The techniques and styles of my figurative and landscape paintings both begin much the same but eventually diverge on two different paths.  Following is their respective descriptions.

Figurative

After developing a concept which strikes me in a personal way, I select an appropriate model. I have a photography area in my studio in which I can create the desired lighting effects. I work with the aid of photography, but the paintings must go futher than what the camera lens can achieve. Photography flattens out a subject and care must be taken to also study the live model for achieving a truely live dimensional look with the figure as well as any other elements.

Next, I create a preliminary concept as a basic “road map” to follow for the painting. This preliminary is the basic design for the painting with all the composition elements worked out. For me personally, I have found that the more completed this preliminary is, the less chance I have of having to work out problem areas. I do these preliminaries in a number of ways such as pencil sketches, watercolors or my computer. When the preliminary concept is finalized, the painting surface is prepared.  A smooth quarter inch pressed board is cut to the desired size.  It is then gessoed and sanded up to six times to prepare it for the painting surface.  This “gesso” is a base painted on the board to create a white barrier for the oil paint to adhere to and to protect the painting from unwanted acids and substances in the board which could cause damage to the image.  I then sketch a line drawing on the board, to give an accurate layout, of the subject to be painted. 

 

 

 Once drawn it is ready to begin the painting.  I use high quality Schmincke Mussini Fine Artists’ Resin Oil Colors. I also use a very limited palette of color as I prefer to mix to get the colors I am striving for. When starting the painting I always begin with the face… and more specifically the eyes.  Every area that is painted is first done with a quick brushwork of underpainting and serves as the base layer in which all other paint is layered over.  After this, the area is layered with color until it is finished.  Once the face is nearly completed I branch out to the rest of the painting. The last aspect of painting is to work the edges of the figure and other objects… softening some and edging others until the desired effect is achieved. Finally when the painting is finished it is then set aside for several months to dry.  Once dried, it is finished off with a couple of coats of varnish that evens the surface, brings out the colors and protects it.

 

 

 

Landscape

 

 

The initial process for creating a landscape is much the same as my figurative work.  Where it deviates is after the oil underpainting.  The additional layering of oils after the underpainting has a more painterly feel. Once this is completed, I work into the painting with textures of colored ink lines.  Additionally, I work with metalic inks to highlight certain areas.  In some of these areas I put a thin, translucent, glaze of color (typically in foliage).  To finish off the painting I will go back in with oils to pull areas together. 

 

 

 

 

Once completed I let it dry for several months and then give it a couple of coats of varnish.