With a new art print of my drawing "Girl with Axe," I explored in this fist installment what my plans were for the project: to create an embellished giclee using oil. Retouching or "remarking" a print creates a new, de facto, "original." To wit: From prior experience, with retouching a giclee with oil, I learned to not use oil paint (with traces of paint thinner on the brush) to paint over a digitally-created (ink) print. Oil paint, and its oil-based thinner/mediums, wreaks havoc on digital prints on canvas. I therefore thought that I would create a protective barrier using spray varnish, between the oil paint and the ink surface. That was, at least, my theory at the time.
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Planning to plan: I typically spend a lot of time hesitating before beginning a drawing or painting. But this part of the process must occur or the following actions cannot take place. From May 28, 2016: Preparing to prepare to paint. Thinking out loud for your listening pleasure: Taking inventory on the areas of the canvas that need reworking versus the paints that I have to achieve it. I ponder the nature of color here: From May 28, 2016: It had been a while since I had painted anything (at the time of this video) so I am revisiting the nature of mixing color in my discussion. Tone considerations are brought to my attention here as well as the virtues of acrylics (being relatively low maintenance as they are water soluble). The realities of painting while holding a camera phone, cast shadows, and fingerpainting are brought to my attention. Results of the first stage are pondered herein. Positioning the lighting on the canvas to set up the work area for ideal conditions: The acrylic gel extender medium and detail brush selection methodology is discussed. |
Chad GlassMy blog is a running commentary on storytelling conveyed through symbolism, fantastic realism, mystery, and beauty. ArchivesCategories |