Painting

 

Sticking with methodology - edges/ archival 

Primed all over

Acrylic base coat

Turps and oil green

linseed and burnt umber over to give painting surface for a Venus 

Draw first - Dark to light - Start thin.

umber oil and linseed over gesso and acrylic base 

Green gold oil & turps, over gesso and acrylic gree mix

Started sketching in pastel with a wet cloth to remove incorrect lines- slowly replaced with polychrono until happy with copmposition. Looking for differeent angles that we survey the sculpture to replicate how the sculpture is viewed and give an illusion of movement

Running with same methodology and mechanisms but thinking of adding teal to background so there's a contrast with the olive green and flesh. - nod to handmaids tail and chosen compliance of comanders wives.

 

decided to keep to mechanisms - green substrate sorted/ line work sorted.. was going to start painting but thought if i work in series and do 3 at the same time - it's more consistent in the way that i consider my methodology to get somewhere

 

This is large so i moved to pastels - and used oil for the background -working with lines/ shapes/ aiming for dark to light -stepped away - face to flat and wrong/distorted

 Came back to - wiped off a lot of the pastel with a cloth and worked the better line work into it and added some softer areas.

what am i thinking when i'm making this - 

mechanisms that work - green, frames/edges- cropped investigative archival - also - sexual and intimate - exposing - feels a bit wrong but elaborating on how i feel the sculpture was supposed to operate and bringing it up close and centre to the audience. 

Didn't feel resolved and I wanted to pull her out of the canvas - I was also concerned that the fixative wasmn't sealing the pastel -it was still really loose and powdery - Used a Windsor newton instead of daler rowney which was better but saturated and darkened the image - 

Built out the figure from the frame at the bottom and began painting.

 

 

 Building a soft face to work back into - neat oils over the fixed pastels - Ocre is really nice - transparent and warm - warms the purple-y hues that I tend to mix

Has dark to light gone out the window? and green base- the green worked really well for the pastel but then i've built over it again- i'll probably build darker tones back over the face once the skin is in and then go dark to light again. 

I can recognise some repitition in how I'm approaching painting -

I like a base tone but will build shapes and shadows and then loose them to finding some tonal direction - get pulled into colour theory, work back to dark so can work back to light again,.. 

trying to get away from purple and paynes grey but will need to bring these back a bit when this layers dry for shadows. 

need this to dry now 

 

 loosing some of the structure because  i'm being impatient with the paint drying. 

 

 

 

 final face - flipped into corret position

Raw sienna is my new favourite transparent paint!

Continued building paint and building shadows - there was a repeated process of pulling out details and working shadows and depth back in - when i went into a crit, i was still displaying this in portrait and Mally comented about it being turned -to the correct position - which is right for the face and conposition but i forget when i turn it to work on the features.