I realized I haven't shared very much of my artistic upbringing. I'd listed some artists who'd influenced my aesthetic growing up, but haven't shown much of what I did back in school.
This image of Roger Waters of Pink Floyd is one of the more sculptural ones I've painted. So I'll take this opportunity to show you a couple sculptures I did back at the Brentwood Art Center with Jonathan Bickart.
Like my portraits, which kind of emerge from the vinyl, I tended to create figures emerging from chunks of clay. The woman's general shape looked like a triangle from a certain angle, so I had her fade into the geometrical shape. The man's face was more of a study, so I just took the block of clay straight from the bag and sculpted him into the corner, adding back on removed clay for the nose and beard, so it sort of look embedded in the block and sort of like a mask.
This tendency might be attributed to a bit of laziness on my part. With my portraits on vinyl too, as I don't use any black paint. Just using white, and very little at that, makes my job easier on one hand. With painting, it's more difficult on the other hand because I can't screw up, I can't remove the paint. So if I get a part of a face too bright, it'll pop out too much, messing up the contour of the face.
I'm basically sculpting the painting, or shading the portraiture. After I've gotten the shapes of the face, I rely quite a bit on my sculpture training to understand the flow of the face and to brighten or raise the right places. Both painting and sculpture use light to create relief. Sculpture has the benefit of actually being raised, while I use paint density to create the illusion of relief on the vinyl. But I definitely think like a sculptor while painting.
Next, I'll show you how my high school art teacher got me hooked on dots, dabbing, and basically density.