I woke up today thinking it was Tuesday, and I was trying to figure out how much of my work I could get done before the mail carrier (and thus, the copy of Borderlands 2 I’ve been waiting for) showed up. When I realized it was Monday, I had a bizarre emotional experience: glad that I had more time to paint, and frustrated that I had one more day to wait before getting my hands on the cool gleaming disc of awesomeness.
That assumes that it shows up on time. I’ve pre-ordered and had to wait before – it’s not a happy thing.
All that said, I have stuff to show off before I get back to work:
I flipped my large painting around (the reclining nude) and am using the bottom strainer bar as a ledge to paint on… it was the best solution I could think of, where I could paint multiple pieces at once, and get a feel for what they look like near each other. There was one awful moment where I heard the strainer bars (as we were flipping it around) make a groaning sort of crack. Because it doesn’t have the vertical braces (as you can see from the above photo) it’s not as structurally sound as it needs to be, but on the other hand, that makes it useful for this improvised easel sort of purpose. When this thesis project is over, I’ll be reinforcing the back of the giant painting with two more vertical bars, as well as locating and re-gluing whatever it was that made the groan-crack sound.
I am super not looking forward to that.
Above, two more paintings are displayed on my discount easel. The one in the back is going to be an homage to Géricault’s Raft of the Medusa, except with futuristic nomad/raider types fighting zombie/ghouls. In my head, it is awesome. In reality, it is proving very difficult to get the initial lines down.
Oh, and as a side note (speaking of “initial lines”) I am drawing these in pencil, and then outlining in a payne’s gray acrylic paint. Once you see the lines disappear, and color/painting stuff showing up, that’s oil paint. I am trying to do these as quickly and efficiently as possible, which means plotting out bits in acrylic.
Here I’ve started painting in the backgrounds of some paintings. To the right you can see the canvas-and-luan painting next to the original painting on mat-board (note to other painters: it’s not a good idea to do anything you want to look nice, on mat-board. Unless the tragedy of impermanence is your sort of thing.)
You can also see how the main character design has changed – for the better, I hope. Now her gear is less bulky, and instead of a full mask and helmet, is a half-mask filter sort of dealy. I plan to address in my paper the significance of having a main character that while she has a face, has no mouth/ability to speak for herself. (At least, not until the end of the comic.) It may be relevant and interesting, or it may just be academic fluff that doesn’t actually matter and is super uninteresting. But I just want to point out, I *think* I’m aware of what I’m doing.
Above is what my paintings look like when I’m working on them. I tend to really goop on the paint, and then smooth everything out as needed. This is also a “first pass,” although I suppose since it only covers only half of the painting, it’s really only a half-pass I think. Also, that shading at the bottom of the photo? – That isn’t painted, that’s the shadow from the sun and a porch railing. Sorry. I really am a terrible photographer.
I also don’t have any real knowledge of this, but I tend to find that if I’m creating shadows, and then put lighter colors right next to the darker areas, it accentuates the shadows in a pleasant way. There’s probably some painting theory that talks about that, and there’s a good chance I should actually read my painting theory books instead of just looking at the pictures.
And then I put everything out side on the patio table, because this oil paint stuff really stinks:
In the morning I will find all the dead gnats and bugs that flew over the paintings, and then crashed and burned into them. For some reason, bugs LOVE wet oil paintings. But like so many things, it is a deadly love.