I spent 4+ hours in the studio off and on this past Saturday. Sunday and Monday saw no studio time as I prepared Sunday for a Monday presentation at school.
Dropped in some background color to help develop the shape of the iron. Begin to render some of the detail on the top of the black handle portion, specifically the circular metal concavity. Sorry about the poor photo quality, the light is great for painting in the studio, but not so good for attempting to take a naturally lit photo without a tripod.
Slowly bringing value relationships along. Looking ahead to how the stripes on the shirt will interact with everything so the base value of the shirt has begun to develop. In my mind this is still very much of an underpainting and initial sketch, the goal is to really push this one along slowly over a long period of time. Maybe 2 or 3 hours a week for a few months. Just want the thing to develop and build naturally.
Okay so it's not the studio, but here is what 2 6'x6' paintings and a 4'x4' painting look like in the back of a 2002 Cavalier. Getting packed up for the presentation on campus. The presentation went okay, not great, you know when you've expressed yourself clearly and concisely, and I can't say I did a great job of that last night. But I spoke from the studio experience so hopefully some of the students got something out of it.
I dig that image of the pannels stacked in the car. It makes me think of all of the crazy crap that I hauled in the neon.
ReplyDeleteLooking at the iron, there is some beautiful stuff happening in that piece. I really dig the way your building your imagery. That piece has some beautiful color.
ReplyDeleteMost of the figurative works are rendered using a minimal palette; white, black, yellow ochre, burnt sienna and burnt umber. This approach was the basis for one of my oil painting classes at school and it really helps me work better by limiting the colors I am working from. I'll try and take a photo of what the palette looks like so you can see what I'm talking about. Anyway these iron paintings are more of a full palette thing and the color spectrum gets a bit more opened up. I loose my way a lot and spend most of my time trying to get temperature and value to describe the thing I am painting. But in the end I realize that my understanding of color is not as limited as my patience in analyzing what it is I am looking at before I bring a loaded brush to the image.
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