During some New Year's clean up I deleted a bunch of files containing my notes from MArtinho's painting workshop last spring.
Here they are in their entirety:
Burnt umber and white value of 6- cobalt drier and solvent
Calcium carbonate (marble dust) to make whites opaque. with titanium to help give it more umph 1-0.85
Shadows - black and yellow ochre
Background mid tone - black and yellow ochre and a touch of emerald green
More solid shadows and background
Blueish ground blur the line between the two
Peek thru a finger hole to get color relationship to flesh palette!
Flesh - red umber and white
Blend the meeting line a bit
Fill in other mid light tones
Palette & flesh ball!
White, yo, red, Indian/venetian, (make an orange) then add white for flesh, red umber, burnt umber , raw umber, black
Day 2: fall of light
Dark at bottom of legs paint up like a flat cardboard cut out.
Shade the background and floor
Bought a litany of 50 cent brushes and got a free travel case.
Photo demo in the afternoon.
Head photo, 25 cm.
Printed out in colour.
Priming a canvas with big car wash super sponge and lead white paint.
Light sand - wipe off with a damp cloth.
Bring painting home and leave in warm truck can to speed up drying time.
Oil in, first painting, model the largest forms in the round
Lesson of the day:
After all (paint is cheap)
Punching shadows a bit
Lighten up the background
Oil in- this process is done onto dry oil to bring the color back
Fairfield Iowa- marahashi
Scottish portrait painter- sir Henry Raeburn
Day 5, work one area with second stage painting.
Working on legs, bumping up the chroma using more Persian once it is pulled out can see the uses of a more closely resembled hue
campatura-wet sand the poison surface and Rubbed in thinned burnt umber.
You got to know when to quit,
I'm happy where I'm at, time to quit while I'm ahead.
last day of the sale, I succumbed to some more purchases!
Tab aret - rolling cabinet.
Things to buy:
Buy a color and tone chart
For reference and photography
Black mirror. Red plexiglas or other optical enhancer.
Good brushes: Rosemary and company. England. Mongoose finishing, series 276 finishing.
Download: the book of wealth
Painting workshop - week 2
Starting a new portrait
1) Tracing with high and low points, small straight lines rather than curved ones that are inaccurate
2) Charcoal the back of the tracing paper. Align the tracing to layout the composition. Trace back over on top of the line to transfer the outline to the support underneath.
3) block in shadows, burnt umber and white! First draw in the lines with. The paint thinned with mineral spirits. Then begin dead coloring. Starting With the shadow.
3) followed by the midtone in the lit side. Fill in the background mid tone.
Made of flesh tone (red + ochre + white) plus some Red Umber. The background is black with yellow ochre and a bit of white. The background tone could have been thicker but I will be going over it again.
Printed out a black and white reference at home
Traces, Transferred and inked.
Put in the dead coloring, major shapes of shadows and lights.
Background and cloth blocked in.
I really like working on the texture of the prepared surface.
Big form modeling
Basic flesh color
Planes of the head
Red umber and white is a good place to start near the bed bug line
A little bit lighter than the shadows
Just a bit of 3:1 medium
Making the head into a flesh ball
Have two turps one for first clean and another for second back into paints that is cleaner.
More chroma, guard against inadvertent greying of the tones.
Week 2 - day 3
After big form modeling work on the planes of the face
Oil in both canvases and set up my palette put about an hour setting up making tones to work from and finding the shifts and planes. Pic of palette
Worked on piece until the lunchbreak.
Then, excitedly ran over to the holy smoke for a man which sandwich and some fantastic chili con carne, stuffed, drowsy and needing some java I continued back on my girl portrait doing the shaping of the larger planes.
Went back into my self portrait and worked on creating some form in the shirt. That button sharply grabs the attention.
Week 2 - day 4
Regular start, oil in, chat, 1 damar : 1 oil.
The most important thing I've found laying out the palette.
Revising the shadows for the girl, really starting to "see" the values. Mixing Persian red straight in, surprising how much oil can handle.
Doc: why beauty matters. Culture counts, book.
Local color - movie
Caesar santos - Cuban American in Miami
Final day of workshop,
Rework the girls face cause I like torturing myself to understand this value scale and palette system.
Krauser P U A
Finding it challenging
Now it's starting to come together
Build you up and break you down
Process - be a man!
lunch time - helped Darryl with his HD camera here is the empty classroom at lunch.
Charles Bargue book
- kept working,
Broken colour background:
movement of tone in background,
Mix up 3 values: low, mid , high (big middle circle (first shot)
Break the colour into yellow and blue and mix both a higher chroma and a lower chroma of both
Ex: low chroma blue add a bit of black and maybe some white. Yellow is raw umber.
Divine Inspiration by Brian Batista
Friday, October 26 - Friday, November 30
More in: Visual Arts
Friday, October 26 - Friday, November 30
More in: Visual Arts
As he tells it, Brian Batista has been an artist for over 30 years; he just hasn’t had much work to show for it. He says he knew he wanted to paint since he was five, but due to the interceding diversions of school and work, he’s just now holding his second solo show.
While Batista graduated from the Alberta College of Art and Design in 2001 and was lucky enough to get a job straight out of the gate as Emmedia’s production co-ordinator — a role he held for eight years — the resulting 16-hour days didn’t leave much time to hit the canvas.
So, he walked away from it all.
“When you work in artist-run centres, you’re working for the artist — and I wanted to be the artist again,” he says. “I was like, okay, I’ve had enough, because I needed some growth.... I tried to redefine myself.... Everyone knew me as the video guy. And there was a huge falling out period — I felt lost for about six months. I wasn’t the video guy. I didn’t have those jobs anymore. In your 30s that’s a lot scarier.”
Thankfully, Batista had no less than a pantheon of deities to guide the way; while he maintains he’s “close to being an atheist,” he was attracted to the iconography of Tibetan Buddhism on an aesthetic if not spiritual level. Saying he wasn’t quite sure of his own style, he researched figures in museums from New York to Los Angeles, Toronto to Calgary.
“What really interests me is that it’s all about the human condition,” he says. “Also, I’m super-literal, and [in Tibetan art] every object has a meaning and tells a story. I don’t really understand abstract art, and classical, figurative art is a little too obvious. I like symbols, motifs and iconography, but I still want to do figurative work.”
So Batista ventured forth with his first major series of works, fairly faithful (if a little brighter colour-scheme wise) representations of these deities, even going so far as to teach himself the sacred geometry that the Tibetans used in determining scale, proportions and positioning of their subjects.
“The Tibetan stuff is relationships to everything else — if one leg is up the other has to be down, if one leg is pointed this way, the other has to be pointed that way,” explains Batista. “It creates a balance, somehow, using those shapes and that math.”
For his current exhibition at Stride — Divine Inspiration — Batista reached even further back in time, looking to the Vedic deities of Hinduism which later informed the Tibetan Buddhist pantheon. However, this time around Batista allowed himself more representational leeway — while elephant-headed Ganesh comes across pretty much how you’d expect, the goddess Lakshmi appears with dreadlocks and holds a banjo, and the traditionally male Shiva is rendered in female form (fun fact — his model was Carisa Hendrix, local Guinness record-holding fire eater and last week’s subject of this publication’s Your Face Here).
Also, while the colourful images certainly pop out of the frames on their own accord, the effect is further emphasized with a pair of Chromatech 3D glasses, which are available at the gallery.
Batista downplays this visual twist, though — he says the paintings stand on their own without the effect — he just wanted to try it out after being introduced to the technique at a rave and then realizing he had already painted colours — much like a printmaker — in the order needed to produce a 3D image.
Indeed, it seems to be part and parcel of a journey of both serious (he’s also studied classical Florentine figurative painting) and playful exploration as he discovers what it is to be a working artist.
Batista admits he’s still finding his way, which is why having a place to show his work is of such importance.
“[Calgary artist Chris Cran] came up to my paintings and pointed out some things that just opened my eyes,” says Batista of the kind of dialogue facilitated by the opening of Divine Inspiration. “And that’s what I wanted, because I’m trying to get somewhere and I don’t know where that is.”