...finished gold leaf inscription. A coat of liquin to seal everything, a coat of matt varnish and a nice dark chunky frame will finalise this piece.
Nearly there on this one. A few warm and cool glazes here and there are needed. A yellow glaze to give the white fabric the correct lighting colour will be sorted tomorrow. May add a broken gold leaf line around red bit.
A very limited palette has been used for this painting but a decent range of colour can be achieved through an understanding of how these paints behave when using mixed techniques. Opaque underpainting, velatura, dry brush and glazing (opaque and transparent). A limited palette also aids general unity.
BLACK IS NEVER TO BE USED AS BLACK. TINT!!!!
Raw umber, Burnt umber, Titanium white, Lamp black, Yellow ochre, French vermillion, Indian red...and probably a bit of Cobalt blue for glazing tweaks.
Fraz and I went to see the RSA New Contemporaries exhibition at the Royal Scottish Academy in Edinburgh today. 2 quid to see yet another bunch of pish pseudo-intellectual twattery. There were, however, a few artists who held our attention. Shaun O'Donnell being the favourite. There's nae much online but here's a LINK. Particularly liked his quite bold use of glazes and his control of half opaques. Disgustingly beautiful. You need to see them in the flesh.
The signwriter came up trumps again and returned this antique gold lettered painting this afternoon. I will put a wee box round the lettering and stick it in a frame. Job done.
Still working away at this. Tried a few new things here so it's taking a bit longer than expected. I have worked up the glazes to a more intense ochre than usual and I will glaze the drapery to sit with that. Looks a bit weird but have faith.
Here's a LINK to my old pal Mike Keeble's blog. He has been writing some stuff. I have known Mike since I was in my teens. He is one of the most cerebral and entertaining chaps I have the good fortune to be acquainted with. Go see!
I have my arty pal Fraz Lethardy staying at not so-Cripple Towers at the mo'. He is ginger, paints and makes films. Here he is showing me the ways of Photoshop and shooting in RAW.
My lovely French friend Adrienne Zitt is starring in, directing and fundraisery organising pretty much everything to do with a production of The Memory of Water by Shelagh Stephenson in Edinburgh. She is both mad and very focused. Here's a wiki LINK. It is also importanto muchos to put your thumb in your hip pocket and help facilitate productions such as this. Donate HERE. Adrienne is busting her...something... to allow us to experience this. I, personally, feel duty bound. Shall be Awesome!
Had a bit of a tinker with this today. Re-underpainted face. A lot more velatura work is needed on this one. Hopefully get most of it resolved this weekend. I have brought a bit of the drapery up to the correct tonal value to use as a key for the flesh.
Velatura work done on this piece today. Still need to get some pinks and greys into flesh. Did a wee bit of work to the hair and fabric too.
I have applied a thin but potent velatura of yellow ochre and french vermillion (artist Quality) with a small amount of liquin. Linseed or stand oil (or your own blend) are the preferred choice of medium but liquin has similar, though short lived, qualities and has the added bonus/drawback of being dry within a 24 hour period. This mixture does tend to get sticky over the course of the day so I would advise painting sections. I.e. I have painted the legs as one section and the far arm as another.
The anatomical detail is a bit wishy washy at this stage but will be resolved in the layers to come.
I have worked into this velatura with titanium white and a small amount of naples yellow to work up to the correct values. Soft round brush! I am aware at this stage that subsequent velaturas and 'working up' will ensue. Build a painting not an image! A local colour has been established so that warms. pinks and greys can be worked in.
It must be noted that I have mixed a velatura AM for the legs and used the same mixture PM. The arms and hands are much cooler due to this mixture going off.
I have spent the day working up an opaque layer of burnt umber and white into the highlights and mid-tones. The shadows have been left as the wash underpainting which has been left unpainted on the back and ribs. Will finish this stage tomorrow and then leave it to dry ready for colour.
lots of love
Dylbo Baggins and Leda Horse to Water
Busy busy day today. Made good headway on the drapery underpainting. Again this is raw umber and titanium white with the wash colour showing in the shadows. I will highlight with white to bring up to the correct tonal value once dry. This is pretty much ready for velatura and opaque colour.
Had a bit of a tinker with the tonal values of the wash underpainting and threw a bit of colour into the drapery. Blocked in the thingy at the bottom with burnt umber and white to prepare for a decorative design thingy. Thingy thingy thingy.
I received delivery of a few cool things today (One of which is pictured below). A remote control for my digital SLR and a Cool as Funk clinging, grippy, monkey-hand tripod type affair. I can wait to get a model in and get some extreme camera angles on the go.
I have also found the perfect image of Leda to paint. Will start next week!
This week I have decided to up my game where photography is concerned. I have ordered a few gadgets and I am excited about the new possibilities. Lighting is important in my work so that is next weeks focus (see what I did there?). I am also going to be looking into the possibility of unusual camera angles when posing a model. Tres Exciting!
Here is a LINK to an Edinburgh based chap called Tobias Feltus. His photography is right up my street. Dramatic, weird and technically superb. He also has a rather impressive mustachio. It would appear that he is from a prolifically creative family. I have been a fan of his fathers paintings for some time but have only just made the connection. Go have a look at Alan Feltus.
Will post more when I return from El Studio Diablo
Here is the finished secondary opaque underpainting in raw umber. I have taken care to allow some of the warm burnt umber ground to show in the darker mid-tones and shadows. I usually paint this stage a few tones darker than it should be as I have found that subsequent lighter opaques sit more pleasingly. Once I have underpainted the drapery, I will begin making decisions about colour. I feel that it is important to have a solid tonal base before applying colour. Separating the challenges of tone and colour makes things simpler.
I have also resolved the wash underpainting of this piece. I have used burnt umber Alkyd paint for its quick drying properties. I will begin the opaque underpainting in burnt umber and titanium white artist quality oils.
It may be hard for an egg to turn into a bird: it would be a jolly sight harder for it to learn to fly while remaining an egg. We are like eggs at present. And you cannot go on indefinitely being just an ordinary, decent egg. We must be hatched or go bad.
On another note, here's a link to an amazing painter who contacted me recently LINK. It beggars belief that Shane couch is self taught. His seascapes are Mind-blowing. I would like to see these bad boys in the flesh. I find them fascinating.
Today has been amazing. Perhaps it is the change of season but I feel energised!
Got to El Studio Diablo nice and early this morning and didn't stop until about 6pm. Went down to sort out a few framing things, had a word with the resident gilder sign writer chap about the next painting and then painted like a tentacle monster. A very productive day!
I had planned to start the opaque layer of underpainting on these two pieces but decided to work on their overall tonality a bit more. Can't wait to get stuck in tomorrow.
Leda is a bit ill today. She did some rather impressive puking this morning and refused her favourite fish breakfast. There she is above looking a bit under the weather. Poor little Leda! I hope she is feeling a bit more chipper tomorrow.
I have had a crazy busy day today. I was up at 6am, walked the dog, did an hours exercise, finished most of my accounts, went to the doctor (she said that I had terminal Awesomeness), made a bunch of phonecalls, wrote for an hour and then... sketched this bad boy out. Oh! and then I ate a lasagne. It was nice. Thanks for asking.
What the model is doing is anyone's guess but I rather like it. I think it's kind of puppet/puppeteer-ish or sorcery-ish. I wonder if strings are a step too far?
I also like the fact that I feel newly inspired.
I do hope they don't find a cure for Terminal Awesomeness
Lots of love
Dylan and Leda
p.s she gave the children back
I have not had chance to do much painting of late. My back waxing business had really taken off and was consuming a lot of my time. Unfortunately, my waxing arm was damaged in a freak marmite storm and my waxing days are over. Shame really, I was just getting the hang of it.
OK perhaps that's not true
I am on a mission of self improvement and enlightenment... and I'm doing tax return stuff. I will be back in the studio next week with a renewed vigour and will be posting like a crazy man. I have a few ideas that I would like to investigate and may even begin a painting of Lovely Leda here... if she would just keep still.
"Dylan Lisle’s work maintains a contemporary dynamism through his old masterly representations of the female form. Knots and swathes of vibrant, passionate fabric envelope his sensuous figures, or otherwise are the subject of larger studies, which draw upon chiaroscuro, reminiscent of Caravaggio, Rembrandt, Vermeer and Rubens. His work is instantly approachable, engagingly serene and romantically charged; traits that have not gone unnoticed in the art world he inhabits.
Fresh from his first London solo exhibition, Dylan Lisle spearheads a modern movement of artists, whose desire it is to capture light in all its glorious subtleties, texture in its infinite tactile qualities and the female form in its evasive beauty." Hope Robertson, 2007