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This is me, at work, raw and unpolished
The WIP's of the latest completed works featured 'On the Easel' can be seen at
' Watson' the Cat Wet on Wet Oil Painting. ' ... ' Experimenting with Colour and Pattern ' ... 'An Ol' English Pub CityScape & Figure Painting' ... 'Reflective Infoxication' Silverleaf Oil Painting WIP'
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We shall meet in the place where there is no darkness... ~ '1984' George Orwell
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There hasn't really been much to show in the unglamourous beginning stages of this piece, except for rambling unintelligible chicken scratch sketches in a sketch and exercise books.. This piece was first inspired while reading Yuval Noah Harari's 'Sapiens' more than a year ago.
I decided that I would go straight to charting out the final composition true to size this time instead of what I usually do - enlarging a small preliminary composition that has usually been fully been fleshed out. Not the best method when doing larger pieces as what one thought was a refined interestingly detailed piece can turn quite bland when blown up large.. The bottom part of the composition has gone through several revisions now as I try to find a way to convey the concept with clear esthetic.. The top which is much clearer in my mind has already been sketched out at size here. The man on the top will be fitted with a tight striped suit in the end and to ensure I got the exact pose I had envisioned for the woman, several photo sessions were conducted with a model. Due to the somewhat awkward uncomfortable pose ( the feeling of which is intended), some elements of the pose had to be taken separately and combined in photoshop and the final sketch. I intend to add a strap (that is already wound around her arm) tightly wound around her chest/mid section, but decided that these elements and the man's suit should be left till I had constructed the bottom half of the composition more.. Ta for now folks!.. :) |
My sketch paper was mounted on the actual canvas board I will be using for the piece. Size: 28 x 16.5
Guidelines following the golden rule/diagonal/rule of thirds etc. were added in pen on the paper, to help me make compositional decisions.. I do not follow these slavishly but I find it helps to keep them in mind and break them with intention rather than inadvertently. |
The title is not confirmed yet ( haven't thought of something that would encompass all the themes I designed this piece to convey )
As I've mentioned before all previous WIP images of this piece were lost when my camera got stolen at the start of the piece. Indeed I couldn't help thinking how much one of the themes of this piece applied to the unfortunates who had gotten so desperate as to attempt an essentially botched burglary on us (all they got was the the rather old and cheap camera) which was displayed clear as day during their attempt...
Completed Dead Layer SIZE : 14 . 5 " x 12 "
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3rd Glaze Layer on Table & Turkey
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Lightening with just titanium white alkyd after 3rd glaze layer.
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It was started off with a detailed underpainting in acrylic burnt umber, proceeded by the dead layer in alkyd (fast drying oils) with a mixture of -
Terre Verte (a lean (extra fast drying), very transparent greenish hue) Lamp Black (has an extremely high tinting strength. Adding more black, darkens and gives a more blueish cooler tone) Burnt Sienna (added because it seemed to give a wholeness to the hue) I'm currently going over the piece detailing the lights in Titanium White (an opaque white) as after the 3rd glaze, the turkey started to look a bit too dark. At this point I am still using alkyd and using a mixture of - Liquin fine detail : Refined Linseed Oil : Turpentine ( with a 1 : 1 : 2 ratio ) as my medium. |
I'm happy with the level of lightening that has been done for now and can continue with the 4th glaze layer next...
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