I do it for you...

My day started out great!
After an early morning coffee and stroll thru the zoo to celebrate my past birthday with my mom, we grabbed a delicious bite of Vietnamese food in Inglewood. I had a friend stop by to share his life woes and then hopped in the shower before heading to work. I prepped my After Effects Class at Quickdraw early, since it is the first day and taught until 9:30. I realize my schedule is a bit weird from here on in. I get off at 9:30. rather than go home, or better yet, go out with friends...... 
I go paint! 

I blocked in some two toned blue radial stripes in the Saraswati background. The colors I am choosing are inspired by the peacock feather I picked up at the zoo today. Saraswati is often depicted with peacocks. I also painted around the edges so that for this exhibition I do not need to frame all the work, that would be extremely expensive and time consuming.

Since I will need to tape off the lines for crisp edges I can only paint every second one, and it's late but I need to get more done. I make a mixture of cadmium's, hookers green, yellows etc to create to green hues for the next radial lines. The implied circle around the goddess is dark going to light which is opposite from the Ganesh painting (to see click here)  which is light to dark.

It is after midnight by the time I'm done on the Saraswati piece. I am feeling dark and finally take the plunge on the Kali piece.  I have been mulling over the next step for this piece and been too timid to just put the paint to the canvas. Now that the leap has begun I am feeling good that it can go forward from here. I intend on painting red bones onto the body and maybe adding a slight highlight onto the form to make it appear less flat. Believe me it took balls to do just this, but now those balls are rolling ;P

It can be really tough keeping my priorities straight.

KALI - beginnings

For those who follow my blog, my previous work on animation was completed successfully. During the process my laptop died and is now being resuscitated at the Apple Genius Bar. So I can't update with anything on that system for a while. However I have had some photos sitting on my iPhone for about a month.

Here is my beginning process on the Kali painting.

I began by selecting which canvas I would be working on, then I did a quick jiffy marker sketch to show the model what we would be attempting to achieve. This led to this.......

I used crosshairs to centralize my image at the belly button. I gridded out some of the area to speed up the process of putting the charcoal drawing down.

Here is the full figure with all four arms drawn on the canvas in charcoal.

In the third studio visit for this piece, I locked down the image with a clear gesso and to limit the spread of charcoal in the paint.

I then blocked in a variety of dark brown tones for the background. Initially I intended on painting the character with green skin to set it off on a warm background, but then things got fun and I went a little further on the background and may be chaining my initial idea, that's what happens with inspiration in the studio.

 I rubbed in more colour, and gold and wet the surface creating a variety of drips and splashes. I am still considering how I will go about the treatment of the flesh, one idea is to paint it very dar and paint bones on top to make her even more frightening. WE will see what happens as the painting unfolds.......

Portraits in Oils - Week 2 - FRIDAY

The final day, keep working + time to put some finishing touches

 We began the day slowly. I think the reluctance to start stems from a few areas, fatigue, was a major one, but mostly we didn't want it to end. We stood around as Martinho covered glazes, with a video from a surly guy from Brooklyn telling it exactly how it is, quite refreshing. A glaze is just thinned down paint used to tweak the tone if needed a the end.*

*With this style of painting that glazing is unecessary if you did it right the first time,  I need to make an additional clause:  VERMEER AMENDMENT! (glazing over a Grisaille under painting method.)

 I oiled in and then decided to rework the girls face because I like torturing myself. Mainly I felt the need to assert that I had in fact learned to understand the value system and to work with my palette. Plus I wasn't happy with it, I knew I could do better and when you have a pro who can give you feedback it helps, 'cause in the studio you have no one to help. So though it looks a little messy, I went back to the first stage of controlling the fall of light/big form modelling stage. Her chin area wasn't dark enough before and it was throwing off the whole relationship between values. This helped solidify some of what I had learned throughout the workshop.

Here are some examples of Martinho's work. The top is a copy he made from one of his teachers pieces. He has not only fantastic drawing skills to get the details and proportions right but also superb control of the subtlety of values and colour. That is a skill in my craft that I badly desire. In the bottom piece if you start at the feet you can see the beginning stages of the work, as you follow up the leg to the thigh you pass the dead coloring stage and get to the big form modelling stage. As you travel up the light side of the ribs and arm you see masterfully finished work, and for me, my jaw drops the the beauty in which he subtly renders the figure to perfection.

At the lunch break, I helped another participant, Darryl, with his HD camera. After the lunchbreak, We we introduced to the theory of colour for broken colur backgrounds. This is where if you look from a distance the background appears to be say greenish, but as you get close you realize those greens are mixed in your eye and in fact, it is made up of a variety of other colours. first there is th movement of tone in the background, from low to high value. With each of those colours you then mix a breakdown of each with low and high chroma. Green is made up of yellow and blue so you mix a yellow and blue of high and low chroma for each value that will go on the canvas. It may be equal to a day of work, but the effect is quite stunning.

 I revisited the work from the first week to play with the background. This piece was a learning lesson and will most likely be abandoned unless I really feel like making it into something, I hung it in my studio as a reminder. I barely got the legs to second stage painting but you can really see how this method lends itself to creating realistic looking figures, for me the legs seem to pop. Now I need to keep working on my craft and develop and loose sensitivity to applying the paint subtly like the masters.

 Here is a scene from the workshop, the craziness of an arts studio while we are in it creating. Now it site empty. The other participants were a joy, through the trials and tribulations. I kept thinking that this is what art school should have been like, the work ethic and the challenges making ti worth while to show up daily. Like the studios for training the masters back in the day. I learned so much in so little time. It renewed my vigor to attain artistic mastery. I asked myself, why hadn't I done this so long ago?!

Here are me and my half Portugeuse bretheren and workshop Instructor Martinho on the last day. Teh Bob Ross shirt is definitely tongue and cheek when you know the level of work and quality we hope to attain. It cant be done watching a half of an hour PBS TV program. I want to impart why this pursuit toward beauty matters to me so much. I feel vigorously renewed after this training, my goals in life redefined:

Beauty is my muse. 

It is the essential life blood of my existence.
 

I am an artist. 

I make beautiful things to look at. 

The job of the artist is to uplift the soul.

I must become the best at my craft so that I can do this.

If you see beauty in everything your soul is set free.

This brings me happiness.