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Atelier R.H. WayAtelier R.H. Way
Atelier R.H. WayAtelier R.H. Way
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    Gallery

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    Gallery

    Fine Art

    By Robert H. Way

    With few exceptions, the human form or the natural environment within which we live is created perfectly. I feel it is very unlikely that any artist will replicate or reproduce an image of that creation, whether on paper, canvas, or carved in stone, with equal perfection. However, I believe that Leonardo da Vinci was correct when he said that, “The artist sees what others only catch a glimpse of.”

    Whether in the human form or in nature, variations of design; composition; color and value; reflect the essence or spirit of all that we perceive. It is this essence that is beautiful to me. It is this beauty which stirs the artistic spirit within me. It is this beauty and those stirrings I seek to represent in my artwork. I have been asked many times, “What do you paint?” My answer is not “portraits, landscapes, barns, or a child’s toy,” but rather, “Light.”

    Although it is important for me to capture a realistic likeness of my subject, I find that I interpret, reveal, and clarify the real likeness residing below the surface of the people, places, and things I draw and paint. My goal, my purpose, and my reason for being an artist is to help people to “See what I See,” beyond the “glimpses.”

    I hope this is the experience you have as you view my work below.

    Oil Paintings

    Charcoal and Graphite Drawings

    Watercolor Paintings

    Portraits

    Works In Progress

    This is a portrait begun as a drawing on a gessoed masonite panel. It resided in a closet for way too many years. In this image Trevor is three years old. He is now in his forties.

    The underpainting begins with a green blue (Phthalo Blue) in the grasses, the overalls, and shadowed areas of the figure. Local color has been added to other areas because i couldn’t wait to see the contrast and relationships.

    The addition of a violet blue (Ultramarine Blue) in the grass ‘s shadows, the overalls, and a bit in the hair. This is in anticipation of other colors added later that will create the natural color of the shadows which will contrast against the greens of the grass blades.

    The addition of a mostly transparent green yellow (Hansa Yellow Lt.) in the grasses begins the transition of that area to green. It was also added to the lit areas of the hair.

    The addition of a transparent orange yellow (Trans. Yellow Oxide) swings the greens to a more sunshiny effect. It also deepens the shadows of the grass. It is also added to hair and figure to begin the modeling of form in the lit areas. More local color has been added to the shirt and overalls.

    More of the green blue and the violet blue area added to the grasses overall, plussing up the greens. These are also added to the clothing. In order to create desaturated violet blue shadows on the figure and hair, I am predominately using the green blue (Phthalo Blue).

    Adding some Burnt Sienna to the dark areas of the grasses. Also more Phthalo Blue over the background. Have enhanced the reds in the shirt and more attention to the shadowed areas of the shirt and arms.

    Added more yellow ochre and Burnt Sienna to the grasses to build the and darken the greens. More of the same colors used to plus up the skin tones and to add some sunlight to the clothing. Some blue was added to the shadows of the hairs to deepen the value there.

    Here I added another layer of of a violet blue to deepen and enhance the shadows among the grasses.

    The initial application of Phthalo Blue, Transparent Yellow Oxide, and Burnt Sienna. This is to establish the patterns of lights and shadows.

    Between each layer of Transparent tube colors is applied a clear coat. Continuing to build the lights, shadows, and defining the top of the tree line.

    Adding more of the same colors overall and introducing Hansa Yellow to get a feel, in places, for brighter, lighter greens.

    Adding Ultramarine Blue and Quinacridone Red to prepare for darker green and violet shadows. Building values overall.

    More of the two yellows to give more sunlight and prepare for the foliage to turn green with the next application of blues.

    Adding Phthalo Blue RS and Ultramarine Blue to bring tree line foliage to life.

    Adding more blues, Phthalo and Ultramarine to the water and rock shadows.

    Unfortunately, I had to restore some of the light areas (rocks) with opaque white paint. Glazed more of all current colors to build intensity and values overall.

    Added more Quinacridone Red throughout to increase the glow and intensities of the shadows all over and adding depth in the water.

    It may not appear to be much changed, but with the added glazes of Phthalo Blue and Ultramarine Blue, the background and water have become much more robust and believable. Small details are reaching the perfection stage.

    Added the last of the fine details. Plussed up the the saturation of color by adding a bit more blue, yellow, and red glazes. I’ll let it sit while I look for anything I can do to improve it.

    There was noting more I could do to improve this image and nothing more I could do to make it look more like my source.

    You can see the finished painting in the Oil Painting Gallery above.

    Want to Purchase a Drawing, Painting, or LE Print?

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    Contact R. H. Way

    If you are interested in commissioning a portrait,
    purchasing a piece of artwork, attending a workshop, or arranging for a virtual class or critique, please send me a message. Or you may call 910 286 6237.

     

    Sponsored By:

    Michael Wilcox School of Color
    www.michaelwilcoxschoolofcolour.com

    Silver Brush Limited – Fine Artists Brush Source
    www.silverbrush.com/

    Da Vinci Paint Company
    www.davincipaints.com/

    Masterpiece Professional Artist Canvas
    masterpiecearts.com/

    © 2025 · Atelier R. H. Way.

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