RAMA - towards gold and robes

Here is some of the process for finishing my Rama painting currently on exhibition at the Stride Gallery until the end of this month.

 I left off with the painting at the fall of light stage. I must have painted and repainted it 5 times. Learning that its okay to rework and wipe away. The creation of this piece became a very organic process. I also lost my reference material when my laptop had to be reformatted.

I wanted to create darker shadows and more realistic form with this piece than in my previous sacred images. I also wanted the dark skin tone to resemble a rocky statue. I had a picture that I ripped out of a national geographic that had a great stone texture that I used as my inspiration. I added pits and cracks and highlights.

I decided to have Rama pulling back a lightning bolt instead of a traditional arrow.  I taped the shape off and painted it in with leafing resin. It takes at least an hour for it to become tacky and ready to lay leaf. My idea is that I can create crisper shapes when I pull the tape of afterward.

After gently laying down the gold leaf I rubbed it with the back of my knuckles because the brushes I have are a little too rough and tear the gold leaf leaving an undesirable cracked texture. This is the first test I have for doing it this way and it has turned out quite good for being a total noobie. I clear coated the gold leaf afterward to protect it, keep it shiny and to stall any future oxidation that might occur.

I drew out half of the bow shape onto a large sheet of paper so that I could have a symmetrical bow. I cut out the sheet and used it as a placement guide. I followed the paper guide with masking tape and gently cut it out to match using my matte knife where necessary.

I figure out an appropriate angle to place the top part of the bow and then laid down the masking in the same manner as on the lower half. Afterward, I placed the guilding glue or size and waited until it became tacky to the touch.

Here is the gold leaf applied to the inner shape. You can see the bits that are loose over the masking tape as they have nothing to adhere to. I gently brush them away and try to salvage as many pieces as I can leaving the rest to fall to the floor like rice at a wedding.

I removed the tape, cleaned up the edges and applied the protective coating over top of the gold. It shines brilliantly and beautifully. far better than any gold paint ever could. I like the implied line of the bow string and decided not to paint it in at all.

The next stage as time consuming. Since I had no plan or reference I had to improvise a flowing robe in white paint. I used a slightly translucent white and scrubbed it to give it a silky appearance. Beneath each foot I decided to have him stand on the robe as if it is helping him to float in the red void. I left some of the robe at the point of construction lines to give it a lyrical feel and to reveal some of the steps in creating it.

I gave him a helmet with the fabric coming from the top of it. I decided not to paint it with shadows which would give it solidity and weight. Instead it is more like an outline or X-ray style. I did not paint in the gems or add any gold so that the simple color palette would not be disturbed.

Here is a shot of the full piece in the studio before heading to the gallery space for hanging.

Here is a current active link to the Gallery page for more info and a great article about the work:

http://www.stride.ab.ca/main.html

Check it out before it is to late!

RAMA - The fall of light

The next stage

The fall of light, from light to dark and top to bottom.

 

The dramatically low light falls at about a 30 degree angle. This is the next stage in creating classic realism. First, it looks like flat, then like a cardboard cut out the has gradual shading from top to bottom. I wrapped up around midnight. On second viewing it with a fresh perspective. I can do much better. I intend on revisiting this stage to blend the tones together more gradually.

RAMA gets dead coloring

If yesterday was a battle, today was a victory.

It may seem flat and simple like a silk screen print but this is the very foundation that the painting is built upon, the dead coloring stage.

 I began the next step the drawing stage which follows the charcoal sketching stage. I outlined and created shadow areas for all the skin areas of the RAMA painting.This allows me to define the edges and a few of the details. Though it looks cartoony, it really helps to visualize the character better.

The paint used to outline the piece is thinned with odorless spirits. Though the reference is well lit and doesn't have super dark shadows I used this stage as on opportunity to play with the dark areas a bit. I cut back in some of the edges with red acrylic before proceeding to the next step.

The richness of oil cannot be underestimated, it is what makes me happy about the progress and quality of the work. I filled in the major skin tone areas with a medium value made from flake/lead white and red umber (Old Holland brand). I also decided that the background that was blocked in with red acrylic looked terrible! Actually the word I used was "shitty". Oil is so dramatically rich.  I used almost half a tube of Windsor and Newton Cadmium deep hue, but it was worth it! In this picture you can compare the top half in oil and the bottom in acrylic.

Here is the canvas, entirely painted over in oil. It is rich and full. I painted over the kilt with an even tone of the read. Now I am thinking about using gold design aspects to create visual interest for the piece. As in all art, more questions than answers are developing at this point, that's the challenge and  that's also half the FUN!

RAMA

 shoots his mighty arrow

 I began work on a painting of Rama after a fantastic photo session with the very ripped and handsome Mr. Jules Lloyd. It was hot in the lights and at my top floor studio so there was a healthy sheen on the both of us, by the time we were finished. I had to use a camera Borrowed from KT and it took a bit to get used to the low light aperture but some of the photos came out fantastic. But I had to pick only one to work from.

I spent some time selecting which image I would use and which canvas it would be painted on. I graphed out some lines to get it centered. I intend on raising the arm up so the arrow is not so linear and horizontal with the canvas to make it more dynamic.

This is the rough placement of the figure drawn in with charcoal. Afterward I gave it a quick coat with workable fixative so it wouldn't smudge all over the place when I began to apply paint.

The initial sketch is to rough in the placement, the next stage is where I will turn this into a more refined "cartoon" outline drawing.

It was getting on in the night. I was listening to Penn's Sunday school podcast. I didn't have the focus to do the line work and I had a good idea that I wanted to create a red field to work in. Who knows? I may make the background gold and have his clothing be red with gold embellishments. It really helped me to feel like I made progress to come back to the next day as well.

Sometimes you have to use a "Smart art making technique" rather than sticking to the original plan!