January: Today is the first day I’ve returned to the painting of Naiche since I started it.
Oops, the head is too big, isn’t it? Well, let me get off of here and paint. Oh yeah, the drawing. If the painting doesn’t go well, I’ll just delete this post & we’ll all forget it. 😉 wink, wink
February: Gaaa, you thought it would be great after so long. Think again.
Work in progress:
It’s 2015; time to get serious! (Yes, it’s the Year of the Serious – did you not know?)
I’ve started a painting after Seated Boxer, a Hellenistic sculpture. (read more)
In ancient Greece, athletes competed nude. I chose a side view of this statue.
I feel sorry for the guy; he was entertainment for the consumers, even in his middle years. If you’re female, you know what it’s like to be entertainment, so you tend to empathize. But I digress.
This is my biggest size so far. The board measures 24 x 30in (61 x 76cm). I think I like working with this size. I have room for details. It feels good.
The first two days, I drew with Conté crayon while looking at the photo I downloaded (I would seriously love to see him in person). I want the guy to be recognizable, but I just want to eyeball the photo – well, I finally took a scrap piece of paper and held the edge up to the photo in a couple places to gauge the proportions, then did the same to my drawing. ->
The second day, I covered the board with paint. I had previously gessoed the board and my baking soda gesso was a little thirsty. (Did I say I’m serious, yet I used baking soda…)
The third day, I started the shading, with some burnt sienna paint I was given. Shading is the fun part; it makes the form. Except that I didn’t get enough paint on the guy earlier, because I didn’t want to cover my drawing, so I had to smear oil on the part I was going to work and then shade. I adjusted the back a little. ->
After a week of correcting, looking and shading, I’m working on the head. The curly hair is going to drive me crazy. When I finish all the shading and modeling, I’ll put on glazes of color. This photo is seriously atrocious, but I seriously don’t want to take another photo. ->
mostly looked at this which I found out later is a copy!
Well, I put a phthalo blue glaze over the burnt sienna, then wiped most of it off. I put a pink glaze over the rock, which was so pink it hurt the eyes. So I scumbled a lot of white over that and lost a lot of details.
I guessed at a floor and wall corner.
I’m in misery about the head. I’ve painted much more crudely than ususal. Daubs, smears and streaks. It looks yucky close up, but the good viewing distance is about 10 feet (3 meters) away. At that distance, I can’t even see anything but daubs, smears and streaks.
I’m going to post the photo of this and think about whether I want to do anything else to it. I’m getting awful comments at home (“it’s another hurts-the-eyes painting”, etc), so I’d like to put it away. ->
After it dries, I may take another picture. I just oiled the background, so it’s reflective. This was fun. I started out with a knife, which gave interesting texture in a few spots. But I don’t like my homemade painting knife, so I switched back to brushes. Oh, and I used the tip of the brush handle and a toothpick to scratch out the wet paint of the mane to get back to the dark background. That made ‘hairs’ that looked fairly…ok. That little technique is called sgraffito when you want to make scratching sound esoteric.
<kidding>You need to go to art school to learn sgraffito</kidding>, but anybody can scratch through one layer of paint to get to another. Good grief. 🙄
I might work on the mane again. I know it needs it.
The beginning: A quick start at a face — I put on paint and wiped off eyes, cheeks, mouth, etc with a paper towel. ->
Mixed up hansa yellow, quin magenta and phthalo blue.
I didn’t have time to do more and it may be a few days before I get to work on it again.
Well, the next day, I moved around some of the wet paint and kept modeling the face, I adjusted a shoulder, started thinking about how to drape the hood under the neck. I am glancing at a reference photo every now and then, but not paying a lot of attention to it. ->
3rd session with it: I added some coloring to the face. I mixed up a brown, applied that, then dropped in some quin magenta pigment and mixed that in, applied it to a lot of shadow areas of the face and the lips. I changed the nostrils, worked on the clothing a little, etc. But I was interrupted a lot, so gave up till another day. ->
Today, 4th time with this painting, I brought down some of the bright coloring. I put in details with my script liner brushes. Actually, I aged her. ->
(from morguefile.com, but I can no longer find the photo that I referenced)
I tried painting on the tempered side of hardboard without sealing it. Mistake. The paint soaks in quite a bit. I just dabbed on some more paint and photographed it.
The apple core was gorgeous. Don’t laugh. It was sitting on the table and the sunlight was shining through it and the remaining flesh was translucent and I thought, “Oh my gosh, I’ve got to paint that!”
So I grabbed a skinny piece of hardboard. Well, it didn’t work out.
To me, that apple core said a lot about life and death, but I don’t think I can express it.
I’m making little animal noises in my throat. Something’s wrong with the position of the head in this painting, but I can’t figure it out. So I give up. I ‘drew’ this with paint and brush, very loosely, and painted his features fairly quickly. I thought, “Cindy, you’re cruising now. You’re getting the hang of painting.” Uh, maybe not.
Aha!Ray Gallon said that the nose is straight on, while the eyes and chin are tilted. So I put more shadowing on the tip of the nose, and that helped.