Saturday, November 17, 2012

Painting Demo: Greg Dubuque

Greg Dubuque
Velvet Rose
30 X 24 in.
oil on canvas

Greg Dubuque is a native of Missouri who received his art training at the Otis Art Institute of Parsons School of Design in Los Angeles.  After graduating, Dubuque spent more than a decade in California working in film and television, first as a scenic artist for such films as Jurassic Park, and later working within almost every division of animation, including creating backgrounds for favorite series such as Pinky and the Brain and Batman Beyond.  Several years ago, he returned to his home-state of Missouri to raise his family, and to enjoy a varied creative experience as a photographer, illustrator, and fine artist.

The following series of images show in-progress shots of the creation of Dubuque's painting, Velvet Rose.  In this painting, Dubuque is using a method highly influenced by the Venetian method, in which a highly-rendered, monochromatic under painting is modified by successive layers of transparent glazes and semi-opaque scumbling.  His canvas is first toned with a raw umber wash, onto which he paints the outline of his subject.  The under painting is then rendered using raw umber, yellow ochre, and white.  Once this stage is complete, Dubuque introduces color glazes.  For this work, he used M. Graham's Walnut/Alkyd Medium, and a variant of Daniel Greene's color palette (Flake plus Permalba White, Cadmium Red, Alizarin Crimson, Scarlet Lake, Yellow Ochre, Naples Yellow Light, Hansa Yellow Deep, Raw Umber, Raw Siena, Burnt Siena, Prussian Blue, Ultramarine, Cerulean Blue, Olive Green, and Pthalo Green).

The scarab symbol in each image is Dubuque's watermark.

To see more of Greg Dubuque's artwork, please visit his website,

"I put down a value in the adjacent areas surrounding each form as I moved through the
painting to help me set my values and to keep them balanced.  I kept those edges
scumbled and soft so my eye wasn't drawn and distracted by them."

"Painting opaque as I move through the figure form by form and trying to complete my
values - dark to light - in each area as I go."

"I sometimes (always) go a little overboard with my rendering in the underpainting stage,
but I have always had a tendency to go too light with my shadows and darks. By refining
my shapes and values in monochrome early on, it leaves me room to recognize where I need
to go darker when I start laying in colors in the overpaint."

"The grisaille is done here. I knew I'd be pushing some of my mid-range values darker,
but this gave me a complete ground to start my color work on.
Still painting opaque for the next stage; no glazing yet."

The Overpainting.

I brushed in a light texture to the canvas with an alkyd gel medium after the grisaille had dried
before I began the overpainting. No technical reason. I simply like the subtle look
and feel of the canvas it provides.

"As with the grisaille, I framed each area with the base of the surrounding color as I moved
through the forms. It helps to key my values and allows for nicer edges.

"Adding dress details."

Velvet Rose

"She was right on the edge of the seat. It was a conscious choice to make her appear slightly
unsettled, a little tense, waiting for something."


Kevin Neal said...

This is one of the most inspiring and informational blogs I have ever seen. Thank you.
This is the technique I learned years ago, and am reminded now how valuable it is.

Kevin gough said...

fantastic domonstration, thanks so much

Verónica Guzmán said...

increíble!y un proceso muy bien documentado y explicado.

Enhorabuena por tu blog ^^

un saludo.

Saddam Khan said...
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Nadya Persel said...

Yes,this is really one of the inspiring and informational blogs!!Agree with Kevin! I am happy that I have found this blog and thankful to Matthew for his share of a lots of art information!