This is a painting in progress.
This first shot is the sketch.
The model sat and the oil sketch was done.
After the completed sketched dried the model again participated to work out first glaze.
Colors are generally chosen at this stage to use up dying tubes or off brand paints.
The primer is white gesso. How would you paint a white towel if the base is also white?
You can paint any color which will add depth and body to the future layers.
This is the same with the skin tone.
If a blue or blueish base is first applied this supports the future glazes.
I am using many colors to find the flesh tone but the base is zinc white. Lead white will also work. A transparent glaze that builds and gives the painting a body and substance that will float off from the wood.
Colors are added to fill the background.
The hair has layers applied to build the texture and height of the final hair.
If a surface is painted carefully layer by layer a suspended body of paint begins to shine layers above the grain of the wood.
Sharp and precise detail is best applied on a full bodied surface.
I do not share the practice of painting detail inside the grain or tooth of wood or canvas.
I prep a surface wirh gesso and sand the surface.
I allow the layers to absorb before the actual painting emerges.
I do not use rabbit skin glue as a first layer.
I will adopt this practice later as a trial.
I work on many pieces at once. Like colored sand in a glass.
When one glass is nearly full , its paint and execution becomes very precise.
Another painting absorbs the excess pallette as a new glass filling with sand.
This is how my studio works.
The background is getting excess color from the figure and starts to dictate the mood of piece.
It is my objective to move past this.
Although i enjoy the randomness of spent color building body and spurring ideas.
This painting goes in a direction i don't enjoy.
I start pushing my design ideas by adding the green.
The violet is a color added that pushes the work into an uncomfortable place.
It comes across as common or novice color.
When learning color I entered this treatment of color.
I see it a very common phase with artists.
After a days work working internally with the figure. I spend some time putting the background on the right track.
This is closing towards final.
Tan lines are showing and the fleshtone is approaching natural.
The inspiration for this figure is a self portrait by Egon Shiele.
The story of the painting relates to Michelangelo.
The nudity of Michelangelo's figure was covered by a separate artist who drew clothes to censor the eye level works in the Sistene Chapel.
I agree with Michelangelo.
Once you have drawn, painted so much. Clothes become silly.
You begin building your figures and dressing them like dolls. It feels stupid and a time hack.
In this piece the figure is moving up from seated.
The towel which should cover him has pulled away and is an arrow pointing towards what it was meant to "cover".
Its ironic.
The skin tone and sculpting will take many more layers. Each carving the final form.
As an artist the final stages of putting fine hairs and other details will be the most rewarding.
This is the only area in my life I exhibit patience.
Thank you,
Patrick Moran
special thanks to veryspider
p.s. this is the work updated today.
The veins are being drawn in. The blue line on the left arm will be skinned with thin layers of oil and blend in but maintain the rise a vein displays.
Painting veins has been a variety of techniques I have been working on for years.
