Almost Done

I have two pieces in the upcoming group show at Jonathan LeVine Gallery next month.  And surprise surprise I'm still scrambling to wrap up my second piece.  I've been making good progress and for the last week or so I've been telling myself "ok, should be able to wrap this up in the next day or two".  But this time, seriously, I think in the next day or two I should have this done.

Below are some details of where I'm at with the piece.  I need to add a little more value and depth to the drapery around the figure.  The shaping of the drapery from the neck up was vaguely meandering a bit and didn't quite flow right.  So I've been deciding where the fabric should fold, flap, open up, or fade into the background etc.  Can be a little tricky when painting transparently.  I think it's pretty much nailed down at this point.  I've been making a lot of lateral changes.  That is to say, depending on who you ask it may be better or not or just different.  Of course I feel the changes are worthy but sometimes I wonder if it's worth the time being so nit picky.  Drifting from my reference too much can be a challenge to maintain a sense of realism and cohesiveness.  However, it's probably some of the more enjoyable(What!?  Painting isn't always enjoyable???) parts of painting as well.  Not knowing exactly what's going to happen and then finding your way...most of the time.

I also plan on adding some gray aqua greenish algae on the branches which should make for nice accents of color.  That application will have to be a little more opaque.  Perhaps I could soften the edges of some of the outermost branches to provide more of a focal point in the center, darken the edge of the fabric where it meets the background, detail the hands, a subtle shift in color as the figure moves from shadow to light, add a little more cow bell...  Yeah, definitely one or two more days.

Questions

I was wondering if I could ask you some questions regarding technique. I have no experience with watercolor (I use mostly graphite), and I was wondering how exactly you get such smooth gradations on faces and skin. I notice this prominently in your work, and also the work of James Jean and Sam Weber. Every time I try to render in acrylics or watercolor, the layers do not remain smooth - the edges can be seen, and my edge control leaves something to be desired. Do you use wet-into wet, or just noodle endlessly at an edge until it is a smooth transition?

I think most of us are comfortable with graphite as we use it almost everyday. As you can see I try to figure out most of the tricky value structure in pencil prior to laying paint down. It can help smooth out transitions. At the same time it can be a crutch of sorts if you spend a ridiculous amount of time rendering everything in graphite instead of letting the paint do some of the work for you. For example I know the branches are going to be rather dark. Using graphite on them in the beginning for value would not be necessary as it would get completely lost under the paint.

When it comes to a finished painting keep in mind that what one doesn't see in a final is all the time it took to get to that point. Even when one becomes a proficient painter things take a lot of time. Practice Practice Practice. Take however long it takes to finish the piece as best you can. Technically, I do whatever it takes to finish a painting or to try and get the look I want. That's includes wet on wet, dry brushing, more opaque subtle cross hatching, large wet washes and pulling out highlights with a paper towel etc. Remember to always experiment and try to learn new techniques to add to your arsenal. Sometimes mixing your mediums will also give great results.

Concerning painterly edges. If we look at Sam, James and many other artists out there, within the work there is a certain amount of embracing the medium and what it does naturally whether it's a wet dripping to paint dragged across the paper. I like to show some some of this as well. The balance depends on the artist's own sensibilities. So I'm not sure I would necessarily see this as a bad thing. Creating art and solving problems will always have it's challenges. Here are a few shots of what I'm currently struggling with.

I've also posted a new time lapse video of this piece for you viewing pleasure

It's for the articles....

Sorry, I probably should've posted this earlier as June is almost over. My contribution to the current issue of Playboy. And guess who else in in there..... Donato! How cool is that:) What? I'm still allowed to nerd out every now and then. I mean, I'm surrounded by beautiful, young, naked women all the time. ALL..THE...TIME. I rarely have the opportunity to be featured in the same magazine with Donato. Admit it. It's kinda cool.

La Planete Sauvage

"La Planete Sauvage" is a french animated film also known as "Fantastic Planet" in english. This animated feature has been around since 1973. I've seen this cover on vhs tapes at the local video rental store for years and yet I never took the time to watch the film. On a recent visit to my parents house my brother randomly brought up the film and we sat down and watched it.

At first I noted the very dated look and primitive style of animation. However, the film's strangely surreal imagery and odd portrayal of humans had such a profound affect on me I knew I'd most likely make a post about it. I probably relate to the film more now than I would've ten years ago. However, the content seems as relevant and disturbing as ever. If you haven't had the chance or haven't heard of the film til now I figured I would share it HERE

As a bonus the sound track is also quite good and I thought complimented the imagery perfectly. For anyone into hip hop you may very well notice some samples used from the film on some classic hip hop trizacks.

ps I always say "expectations" can kill a good film. So to prep myself prior to any movie I feel myself getting my hopes up for I repeat these three phrases. "Worst plot ever. Worst special effects ever. And Worst acting EVER." This usually sets me straight. You may hate this film ;)

New Work in Progress

Here's a piece I'm hoping to wrap up within the next week. I thought I would go through my process a bit here. I may seem redundant at this point. However, even I finding myself unknowingly cutting corners sometimes and wondering why something isn't quite working out the way I wanted or why I can't seem to move forward.

Of course here's my initial sketch followed by a color comp.

After spending a lot of time looking up different types of trees, taking pictures of some trees around town, and taking photo reference of my figure I was ready to do the final drawing. After a loose transfer of the sketch I use my reference to create and refine my final drawing right onto the watercolor paper. Doing a final drawing and then trying to transfer all of that detail is a bit tiresome to me and it also tends to loose some freshness which needs to be recreated. There are usually areas in the drawing that I don't want too finished as it can restrict some spontaneity later while I'm painting. When it comes to the figures however, I try to make them as tight as possible.

Now it's ready for some paint. I usually start off with some large washes to fix the drawing and tone the paper overall. Knowing I wanted the center of the figure to be highlighted I lifted out the paint while it was still wet with a paper towel. From here on I'm slowly building up the value and color and beginning to refine some shapes within the piece. If you compare the figure's skin tone in image 5 with image 6 you'll notice it appears to have warmed up. Most likely, this is due to all the cool tones I've added to the background. I actually like the more muted skin tone so at some point I'll have to adjust it. There's always some back and forth, push and pull of this nature the further you get into a painting. I actually think that's the fun part.

Atmosphere is also important here. Besides the focal point of the piece I don't want my edges to be too sharp or contrasting. In the last image presented here I'm just starting to have a little fun refining the branch above her head. And that's where I'm at with this piece. I'll be sure to post more when it's finished and I get a good reproduction.

Final Drawing ...Live Painting at Rivet Gallery

This piece is ready for some paint. This is a bit last minute but if you live in the Columbus area and are out and about at Gallery Hop stop by Rivet Gallery for their 4th year anniversary. I'll be working on this piece and another for the evening.

"Rivet’s turning 4 and we want to celebrate it with you! Come out for an evening of live artist demonstrations as you have the opportunity to glance into the window of an artist studio.

Meet some of these artists who have worked with Rivet throughout the years and see their techniques at work.

Reception will be held Saturday, June 4th from 7pm to 10pm

Live Artist sessions presented by: Amanda L. Spayd, Andy B. Clarkson, Angela Matteson, Clinton Reno, Eric Fortune, Jason Tharp, Maxe Smith, Sharon Dorsey and Troy Stith."

Pricing Your Work...Some things to consider

Prior to having my work on the walls I discussed pricing with the gallery owner. It was suggested that the work be under priced. That hurt. Now, as some may know it's fairly standard for the gallery to take 50% of any sold work. Double whammy. Starving artist took on a whole new meaning. I had to keep in mind my long term goals; produce art that I like, and make a living by doing so. Now there is actually a good reason for what was suggested. Under pricing is a strategy used to move work. In the gallery scene there's nothing quite like a "SOLD OUT" show to peak interest and build momentum. It creates a vacuum or demand for the work as it becomes scarce.

Under pricing makes it easier for a collector to invest in a new person on the scene. Someone who has not yet shown they can consistently produce quality and engaging work. I knew that many of the artists I was looking at in the Low Brow/Pop Surreal scene were also former illustrators. I assumed that collectors were probably familiar with illustrators because of this. I also assumed that because I had been accepted into The Society of Illustrators and Spectrum and had started to make a name for myself there would be some cross over. This may be true for some artists. However, it seemed I really was the new kid on the block and the bottom rung is where I was starting.

Because prices were lowered it did help the work to sell. And thank goodness I've sold most of my work as I don't have time for much illustration on the side these days. Because it's my only source of income every time I have a show it's the most stressful, nerve wracking experience. A few works may sell prior to the opening but things rarely fly off the wall. As good as it looks to have a "sold out" sign it's obviously not a good thing to have unsold work or even worse to have priced work too high and have to back peddle the prices on your next show. My goal, other than to make good art, is to consistently sell work, and to slowly raise prices appropriate to the demand of my work. No one wants to be a flash in the pan. Yet, it happens. There are many pitfalls one must be aware of. Pricing too high too fast can be one of them. It helps me to think in the long term about the sacrifices I make today that will hopefully pay off tomorrow. This is the route I'm taking and it may evolve.

There are obviously different dynamics and other factors that may come into play. For example if you already make a really good living on the side, selling art at the gallery may not have the same urgency. And pricing the work closer to what you think it's worth vs. what someone is willing to pay for it may not be a major concern. Some would rather hold on to their work rather than sell it for lower than what they would consider it's worth. However, if your in the business of selling original art for a living hording your own stuff and being your own biggest collector won't get you where you want to be. The truth is galleries like artists who are in demand and who can sell. Like anything else it's a business. I should also mention that not all galleries are worth your time and money and you should always research as much as possible prior to working with a gallery. The relationship between gallery and artist should be a mutually beneficial one.

For anyone interested, I'm currently reading a book that offers some more insight into the gallery scene. Check out "The $12 Million Stuffed Shark" The Curious Economics of Contemporary Art" by Don Thompson. I probably sound like a broken record at this point. But the less debt one has the easier it is to take a risky decision concerning your career. Things to consider.