Move­ment and scale

Michael C Hayes uses move­ment and scale to evoke a sense of awe in a fa­mil­iar sub­ject

ImagineFX - - Contents -

Michael C Hayes’ an­gelic work.

An­gels are a re­cur­ring theme in my work. This is cer­tainly not the first, sec­ond or even 10th time I’ve taken on this sub­ject, nor am I by any means the first artist in history to do so. Be­cause it’s such a fa­mil­iar sub­ject, the chal­lenge of en­gag­ing my au­di­ence is even big­ger, due to their po­ten­tial ap­a­thy.

I have to prove to them, in a split sec­ond, that they should care about this paint­ing of an an­gel. I have to make it more than just the sum of its parts. Bear­ing this in mind, I set out to evoke awe, by mak­ing the paint­ing re­ally be about scale and move­ment. The an­gel will be­come merely the ve­hi­cle by which I por­tray these con­cepts.

From the very be­gin­ning I know that I want to sug­gest scale by hav­ing the an­gel’s wings en­ve­lope the en­tire frame and have her emerg­ing from an at­mo­spheric mist. I also think about how I could sug­gest move­ment with strong di­ag­o­nals in the com­po­si­tion, an ac­ro­batic ges­ture and sec­ondary el­e­ments such as trail­ing hair and fab­ric.

Af­ter sev­eral years as a free­lance artist Michael C Hayes now paints en­tirely for him­self.

Ra­di­at­ing line com­po­si­tion This en­tire com­po­si­tion is built from arc­ing lines that ra­di­ate from the bot­tom-left cor­ner of the im­age. Note how the ges­ture of the fig­ure, the flight pat­terns of the birds, and even the feath­ers of an­gel’s wings bow to­wards that sin­gle point. At­mo­spheric per­spec­tive Af­ter paint­ing the first lay­ers with Galkyd Lite, I layed down a semi-trans­par­ent glaze of Gam­blin Neo-Megilp and trans­par­ent white which blended into a trans­par­ent earth tone glaze. While that layer was still wet I worked into it with opaque paints.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.