Wednesday, June 30, 2010
That's it for class time on this one. It reminds me of Lucian Freud's work. Not with the same amount of skill, mind you, but the mark making is similar.
I've got enough information on here that I can take it home and keep working on it, and actually finish it.
Next up: Drawings.
Thursday, June 24, 2010
Wednesday, June 23, 2010
Back from the dead. And slightly less poverty. And slightly more internet access.
This is one that is a documentation shot for a three session work from a figure painting class. I left my camera at work today so you only get to see one third of it as opposed to two. There's not a whole lot of information there. It's a vine charcoal sketch of the model and some starts at under painting for tone on Bristol paper.
I didn't think I'd like painting on paper as much as I do. It takes medium well, and dries quickly. I don't prime my paper with PVA or gesso. In truth I'm not a big fan of priming things unless it's a house or furniture. The point of priming things is to seal the surface for preservation, and to smooth it out. I want to be reminded of what I'm painting on. Paper, wood, masonite, and steel have unique colors and textures to them allowing for happy accidents that interact with the work in ways that I find interesting.
I tend to paint in a dark brown palette, using raw umber as my base and then a double primary on top of it. I can render okay (better proof of that tomorrow) but my colors get very muddy and and undead looking. I've been painting for almost eight years now and I'm just now learning to add blue to flesh tones. Let's hear it for concept heavy art schools.