Howdy Folks!,.. 'Child of Mars' has finally got its final coat of nice glossy satin varnish!.
I loved experimenting with simultaneous warm and cool lighting effects on the model in this piece, and the composition was somewhat inspired by Euan Uglow's symmetrical minimalist figurative paintings..
Geometric repetition with the figure and throughout the composition was used to create harmony and balance, and I strived to create a tactile and exciting piece with the textured surface and by contrasting flat hues with the high realism of the woman's figure..
Available for collection at 'Child of Mars'
Hiya guys, Can't say as many of these dailies have been turning out as I'd like. Painting them each within a set limited time frame has proven challenging and these latest actually extended beyond the 1h set quite a bit.
Still I think it's really good practice to to try to quickly think of all the variables required for a good compo / painting - hues, temperature, composition, light, hard & soft edge, depth, weight and so much more.
I see these dailies as just sorta sprints to prime my brain to think quickly through the problems that I have already practiced thinking about in longer drawn out artworks though. Done on their own, they would probably have the terrible effect of inculcating a shoddy habit of mindless quick painting.
It's a skill to work methodically with precision while still doing so fast. Setting a time limit for a painting like this should be done purposefully as a side to the real practice of creating art where one has all the time needed to work out and ruminate on all the nuances of a piece. One naturally gets faster at it in time anyway.
Anyways all new dailies (that have survived) are posted on Daily Alla Prima Oils before anywhere else so do drop by if you are interested! :)
Hiya guys! I've recently started incorporating these lil' life still life paintings in to my daily warmup sessions!..
Painted quickly alla prima, I'm hoping this will help me hone my life painting skills, especially in colour mixing and observation.
Someday's fall flat, in which case I just wipe the support clean ready for the next days daily. Luckily most days I manage to wrangle up something decent though.. at least so far.. :)
Here are the first few that I've recently made available for collection...
To see my very latest new dailies I'll be posting then regularly at Daily Alla Prima Oils !
Thanks for dropping by folks!
Hiya folks! Finally able to make this piece available after its final varnish. The final finish has a sort of satin matt look which I feel suits the piece best.
There are so many more light combinations to be explored with this angle, so I might even do more on this subject.
If you'd like to know more on this piece and how it was created click on the link below..
Thanks for dropping by!.. :)
Hiya folks!,.. It's been a while hasn't it!. I'm coming out of a difficult year after caring for my dad through his last few months and long slow deterioration. There are no words to describe how it feels to see a loved one go thus... We miss him everyday now even though he had long been a shadow of himself.
Anyways, art has always pulled me through difficult times and I was working on this little print during his final days. I did one set with goldleaf for some artist friends (12 editions) and this set (below in only 8 editions) with silverleaf. I hadn't done any printmaking since my college days so I kept it simple.
This is the first time I've tried gilding a handpulled print and it's a bit tricky to do so, as each piece is supposed to be as identical as possible ( this is a mark of a good printmaker). To get the gilding pattern of each print as close as possible I used a stencil to apply the gilding paste and then continued with the gilding process as usual.
I wanted the silverleaf to be protected though, so a layer of Artist Varnish was applied just to the leaf alone.
These prints have only just been made available on Artfinder so if you're interested in adding one to your collection pop on by - 'Zen Dog' Silverleaf V/E Print .
Do drop me a message if you have any questions!
Thanks for dropping by!!
It was great fun painting this alla prima oil of a subject matter so close to my heart, my mother and little cat (at the time) Crookshanks.
I wanted to really capture the early morning light as it shone brightly, illuminating the dark interior of my mother's bedroom. So, unlike the rest of the piece, the window area was left bare of any toned underpainting. The rest was painted with a limited palette over a toned ground of paynes grey, yellow ocher and raw umber.
Much of this toned ground is left uncovered in the final piece intentionally and background elements have been left with a rough unfinished look.
Vine charcoal was the perfect medium in helping to create this soft toned atmospheric piece.
Using a Sepia Light Conte Pencil, the figure was drawn, making sure the 'quality of line' was good as this drawing would be seen in the completed piece. The acrylic primed rough watercolour paper was a great surface to work on. Once I was satisfied with the drawing, the shadows were given a wash of Chinese Black Ink ( there is just a unique luminous quality to chinese ink and I love using it whenever possible ).
To help get my bearings I now went in with the lightest light I planned for the piece.
A splash of white acrylic (with a touch of raw umber) carved out the structure of the man's head and shoulder. Though I had a rough idea where I wanted the white to go, I was always aware of how the composition was developing as I was applying it and adjusting accordingly. For example, I had planned to paint down over the man's left shoulder more, but then the drip happened and looked so good I had to leave it. Acrylic dries fast so decisions had to be made quickly.
With the lights and darks established I went in with a little more detailing for the figure with white chalk, charcoal and the sepia light pencil. I had to be careful not to do too much or risk losing the mood of the piece..
Had to say adieu to this one today. I was surprisingly sadder than usual to see a piece go. I was quite pleased at successfully achieving just the exact glowing emerald hue I had envisioned for the snake and this was also my first attempt at trying a new crosshatching technique with the oil paint too.. Despite this I could not feel more blessed with whom she is on her way to right now!.. Thank you so much for making a home for two!.. :)
More info on how this piece was created etc. at 'Original Sin Rebirth'
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Jacqueline Gomez on SAATCHI ONLINE
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