|
|
|
SCHLIEFKEVISIONdotcom |
|
The online chronicles of a
painter living in Austin, Texas |
FLINGING
PAINT IN THE STUDIO IN MAY
WORK ON A NEW 4' x 6' PAINTING
Here is the latest work happening in my studio - a big 4' x 6'
canvas that popped out rather unexpectedly and is continuing to
progress in ways that are continuing to surprise me. In
some ways, the return of alizarin crimson, which vanished from
my palette for about 7 years, has got me thinking about some
older works
from ages ago.
I've got some ideas and themes in my head that should make
themselves apparent as the work continues on this painting.
Color-wise, this painting is starting out much brighter and much
more primary than my usual canvases, I like it, but am undecided
as to how the colors will resolve themselves just yet. But
something will happen, and the painting will tell me which
way to go. So, without any more delay, here's what the
progress looks like: |
To see what else is going on in the studio in May, click
here |
|
MAY 1
Starting off a new painting means covering the canvas in seemingly
meaningless strokes and turpentine washes, really, I'm already
developing the composition and trying to find the best way to
visually communicate the thoughts in the painting. These
stages are fairly easy going and meditative, but quickly begin to
ask something of the person behind the brush.
"
|
|
|
MAY 2
At this point, I wanted to take a bit of the carnival aspect out
of the painting. I am not too concerned about my palette,
although I've been treading along the primaries fairly heavily so
far. The color is bright and not muted in the least, that may
be an aspect I try to let linger. The subject and objects lyig
in the painting are starting to take shape.
|
 |
MAY 3
Now comes the crucial time in the painting where I have to start
to develop the work without tightening everything to illustrative
levels. It's always my worst fear and most hated aspect of
painting - when I realize the initial enthusiastic burst is spent
and I feel like I'm going through the motions to complete the work.
That stage is a ways off, but I start to become aware of it now, and
try to make every stroke count for as much as possible to prevent
the painting from becoming too tight.
|
|
|
MAY 6
The color palette settled into a groove, and I started to focus the
figures a bit more, adjusting colors, adding some, dropping others
out, and deciding what the true focus of the painting should be.
 |
MAY 12
As the painting is progressing, the figures are starting to become
more described, mistakes in anatomy are being fixed, and the down to
earth physics of the painting are becoming more apparent. I've
also started to use some oily glazes to help describe shapes and
forms, knocking down darks to build them up again.
 |
 |
|
|
