Saturday, October 23, 2010
Friday, September 17, 2010
What's amazing to me about this portrait is how realistic it is. A lot of renaissance paintings contain idealized figures and faces. I love Boticelli, and was totally estactic to see his paintings up close, but I never look at his painting and think; that scene could be real, those people could be real. All his figures look strikingly similar anyway. His work has those trademark angelic faces.
What's remarkable to me, is that I literally had to get my nose up to the glass before I could see brush marks. Before I could even tell it was a painting and not a photograph applied to wood. This photo betrays the sheen of the oil paint, (you can see it in the black robe in the lower left corner) but it makes it look washed out, when in reality it is still a very vibrant portrait. The translucency of the skin and of the hands and face is astonishing. He looks alive. He looks like he could move any second. He looks like someone I could meet on the street.
Normally my stand by philosophy is let photographs look like photographs and let paintings look like paintings. But, I couldn't help but be stunned by such a photo-realistic painting completed at a time of idealized figures and faces, and 450 years ago at that.
I also was reacquainted with and newly impressed with this guy.
Actually nearly all the religious painting from the renaissance are way more impressive in person. Namely because most of them are HUGE. Like the size of a large wall. This is obvious, as they were orginally intended to go inside HUGE gothic churches. But it's easy to forget when you've spent your whole life looking at tiny thumbnails in history books.
Contrariwise, there were a few itsy bitsy gems that impressed because of their detail and tiny size.
Truly a once in a lifetime experience. I'm jealous of those who live near enough to go as often as they wish. I am so amazed with the creativity of the human spirit, and I marvel at how much these painters could accomplish in their lifetimes. Such beauty!
Friday, September 3, 2010
Tuesday, August 31, 2010
Friday, August 27, 2010
I almost always forget to sign my paintings. Once it's done, I just don't care anymore. I think I really just wanted to see what the painting was going to be, like reading a story to find out what happens.
Anyway, here is what happens when you mix a purse with a painting.
Monday, August 23, 2010
Sunday, August 22, 2010
Here is the painting I want to epoxy resin. It's ink on bristol board.
The painting was sprayed with Krylon UV resistant clear acrylic coating, (no photo) and allowed to dry.
A layer goes on the canvas and on the back of the painting.
Monday, August 16, 2010
I had never really wanted to place all these drawings under glass and in frames. It seemed kind of stuffy to me, adding such a hard barrier between the drawings and the viewer. They're meant to be looked at closely. There is a lot of detail.
Resin has the advantages of being permanent, cheaper than traditional frames, and giving the viewer the feeling of more immediate access to the work.
Additionallly, these resined pieces could still be framed if someone wished. They don't need glass, as the resin acts as a sturdy barrier against the elements and oily fingers.
As with any painting, resined pieces should still be protected from sunlight.
My next post, hopefully, will be a play by play of the process, using this piece:
Saturday, August 14, 2010
I sprayed the drawing with a matte glaze to fix the inks, then I used gel gloss medium to glue the drawing to a prepped canvas. When all was dry, I poured poly resin over the whole.
1. apply several coats of fixative. The poly resin still picked up a slight orange color from the ink.
2. make sure the corners of the drawing are firmly glued down BEFORE pouring the poly resin. I was lazy and thought the poly resin would glue them down better. Not. They still curled up slightly despite the resin. I'll need to go back and fix that.
As you can see from this photo, the resin is very shiny, making it hard to photograph the work and get a good representation. The colors are much more saturated than shown here, and a lot of detail (especially in the corners) is washed out.
Friday, August 13, 2010
This painting was an experiment with acrylic, watercolor pencils, and ink on wood. I sprayed the final painting with a fixative to prevent the ink from bleeding, and then I applied a layer of poly resin. The resin gives the painting a thick glass like coating. I really like the effect.
This painting was done in ink and acrylic and various texturing mediums, sealed with a coat of Gloss Varnish.