MEDIUM: Oil paints on a canvas that is around 28" x 22".
MODEL: The other painting of Rikaco. You know, the girl from the little spackle picture. A handsome lass, is she not?
NOTES: If you look on the far easel on my gay-assed Desktop Picture you can get a blurry eyeful of this thing at an earlier stage. Not that far away from this one. But you can see that I hadn't yet started to join the tones of the background to the figure in the foreground. I adjust that relationship till the last stage of the painting process.
Has that thick texture that the other painting I posted has. But this is a bit more of an "image friendly" photograph. If you look at the bottom of this photo (this is a photo of my painting, NOT the painting. That's why I call this a "photo") you can see where the flash has bounced off the texture on her tummy. (I said tummy. Is that effeminate? Should I have said "torso"? Okay, even if "tummy" is kinda fey, I could have said "belly"... And that is inarguably kinda girly.) There are a few strange camera flash artifacts on this photo, like on the neck and the tummy (I mean torso), etc... And depending on you monitor, this photo may be slightly more red than the actual painting.
The halo seems more integrated into the background than in some of the previous paintings in this series -- kind of makes it seem up to debate as to whether she is holy, or just standing in front of a wall with a circle painted on it that is giving her some sort of provisional spirituality based solely on her current location. I like that alot.
But of course, it's almost 4am right now, and I might not be making any sense.
The nimbus is kinda the thing I play with. It's not like I feel like moving her nose to the back of her head, so the background gives me a place to dick around. Consider: I have the nimbus element, but it still has to sit well with me. Ya know, it should compliment the figure. I use the bullshit background ("bullshit"; as in a dense mass of space, and not a table and a wall) to emphasize the sharp turns from light to dark that are in the figure. The background, although a seemingly uniform space, goes from black to almost pure white. That's a lot of tones/colors in between. Now add the nimbus, and you get a lot of decisions that need to be made on a space that should be only gently considered. So... You will see treatments like this one. Ya know, where it feels like a real "space" behind the figure. Aaaand you thought you ramble at this hour...
I could have... But I always think of the stomach as being the bag of digesting food that is inside of your torso. Hell, I could have said abdomen. But that's just me. Is "stomach" any more masculine? Even if it is, it's not as adorable as "tummy". You HAVE to admit that "tummy" has a certain charm to it.
as opposed to your other "saint" figures, I find this one has a more, classique saint look. That strong patient look with a tint of tragedy, not to mention you decided upon a yellowish-golden background which is all the more saintly. I will one day have to watch you complete a painting from start to finish so that maybe I can begin to understand how the smallest detail can be applied with the precision work you do. I mean, you manage on getting the background light to rebound off the subjects skin. I can only think that maybe you plan out your backgrounds before hand and make the lighting according to it...or, you're really that good.
You're 10 years older than me... round about....I've alot to do.
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Comments
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"We need to talk." -- God
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But of course, it's almost 4am right now, and I might not be making any sense.
Either way, this is incredibly gorgeous.
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vestrit says do as vestrit says
Love this one too...beautiful.
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"I have sworn upon the altar of God, eternal hostility against every form of tyranny over the mind of man" (Thomas Jefferson).
You're 10 years older than me... round about....I've alot to do.
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