My Art in the Mak­ing

Fly­ing Dreamer

International Artist - - Oil Demonstration -


So, this was a very vig­or­ous paint­ing. And in this first photo of the paint­ing, I am try­ing to get down the fig­ure fly­ing with very ac­tive, painterly strokes. I was not con­cerned with color yet, but had a very good idea of what I wanted. It was painted di­rectly over a failed paint­ing that I al­lowed to in­ter­act with the new paint­ing. My think­ing was the fig­ure needed to be bold and broad, en­com­pass­ing the en­tire can­vas. Baby steps as they say; one step at a time. What I could un­der­stand and ex­press in paint at this mo­ment. Not the en­tire paint­ing as of yet. More en­ergy than you can ever imag­ine.

When you give some­one a brush af­ter they have been paint­ing with a paint­ing knife for years, the brush paint­ing turns out much dif­fer­ently than it would if they never had used a paint­ing knife. In my case, the paint­ing knife pain­ter paints much more ag­gres­sively, spread­ing paint mas­sively, swoosh­ing it, be­ing so at­ten­tive to the mark its move­ment makes. This made me more at­ten­tive to the brush marks I started mak­ing.

I wanted to ex­plore in the paint­ing, like a mis­sion across space, yes go­ing where no man has gone, ex­plor­ing…not set­tling for just your orig­i­nal idea, but al­low­ing it to evolve and de­velop as you paint. You may even take a new di­rec­tion that takes more re­search or de­vel­op­ment.

A pretty fa­mous pain­ter asked me, “How The pant­ing is 2-by-4-foot Ma­sonite, ¼-inch thick, mounted on 2-by-1-inch inch tall fin­ished lum­ber to pro­vide height for the paint­ing. The Ma­sonite is primed with two or three coats of la­tex primer. I en­joy the smooth sur­face be­cause it lends well to paint­ing with a paint­ing knife.

I paint with M Gra­ham oil paints that are made with wal­nut oil, which is a lot health­ier for the oil pain­ter. I used to use tur­pen­tine, but even odor­less turps smells and both have fumes. Many of my stu­dents com­plained about get­ting mi­graine headaches, and I found wal­nut oil to be did you learn to paint that way?” He was as­sum­ing I had re­ceived it as a men­tor of a pain­ter as he had learned. It was by ex­plor­ing and paint­ing. I have found paint­ing to help me ex­press a lot of my feel­ings that I can­not ex­press ver­bally.

Be­ing a pain­ter, to me, is learn­ing to see and de­velop uniquely in your own uni­verse. My next dream or vi­sion ce­ments the idea, an aerial view of steep rolling hills, a photo of me fly­ing that I would need to al­ter to pro­vide more fore­short­en­ing of the arm com­ing at you. The paint needs to be ex­pres­sive from a brush to show its flow­ing move­ment.

I can­not say this is how I have al­ways painted, but it may be more fun and a much bet­ter so­lu­tion than giv­ing up oil paints. Some have moved toacrylics for sim­i­lar rea­sons, but I could never give up the phys­i­cally in­tense col­ors and abil­ity to con­tin­u­ing to ad­just col­ors by adding dif­fer­ent col­ors to change hues and val­ues. With acrylics you would quickly end up with mud greys, has been my ex­pe­ri­ence.

You can see the ruler here to pro­vide an idea of size of some of my hand-al­tered brushes from a hard­ware store and hand-crafted large paint­ing knife that I like to use on larger paint­ings. My smaller knife is 3 inches long. Brushes I use are ex­plo­rative. Know­ing what I want in the paint­ing while not hav­ing any idea how it will turn out, just a rough fac­sim­ile in my mind now. Like peel­ing back an onion to see what you may find in­side. I know I can only carry my en­thu­si­asm for a paint­ing just so long, and I am aware of this so I need to ac­com­plish a paint­ing in no more than a month over this time I may lose my orig­i­nal fo­cus for the paint­ing.

I must pro­duce it while the en­ergy is flow­ing strong and full of my spirit. My pas­sion and en­thu­si­asm in my brush and knife must be fluid and alive. It is not a photo; it is a paint­ing. I want the viewer to ex­pe­ri­ence this en­ergy. an Ivory Rigor from Rose­mary & Co., a Robert Sim­mons Signet Brush Se­ries 43 Eg­bert No. 6 and also a No. 8, which are very nice, ex­pres­sive and in­ex­pen­sive, which I can beat up on. I am tough on my brushes. Maybe that is why I went to metal paint­ing knives. You can­not hurt them.

I mix my col­ors on black glass so I can see color eas­ier and I clean off paint from my glass with a paint­ing knife or a ra­zor blade. Pa­per tow­els, sand­ing block, my fin­gers or any­thing else I can grab on to so I can make the right mark could be used in my paint­ing ap­proach.

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