Gesso

Following an entertaining family effort (my kids and Joseph with squirt bottles filled with distilled water) to give the big canvas a wash so that the creases drop out and the canvas gets a little tighter, Joseph worked on gessoing while I turned to the other side of the studio to continue to paint the leaves at the feet of the Angel of Death with Iron Oxide Red, completing the layer. Today I hope to finish them completely, glazing them and lightening them up a bit.

The canvas totally dominates the room, looks great! Even the Angel looks small next to it.

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Epic

We had an exciting time hanging the giant canvas onto the wall. This painting of the virtues is by far the most ambitious project I’ve considered, and I’m really looking forward to getting started on it. I have yet to draw a developed sketch of it, but it seemed sensible to get the canvas on the wall ready to start before the hurly burly of the beginning of semester came.

In the picture Joseph’s up on the ladder as we begin to stretch the canvas. Garrett and Larry also helped to get the work done. First we put plastic up so that the canvas has no chance of sticking to the wall when it’s gessoed. We’ll have to get it completely hung today so that the weight of the fabric doesn’t make it sag.

Cameron’s gone up North to the icy wastes of Washington after four years here at the University. He’s been an invaluable helper and a great student. Cameron, thanks for all your work, good humour and enthusiasm. We’ll miss you! (nice hat)

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Shooting the Empress

My daughter and a couple of her friends modeled for me alongside a couple of my students for photos of the Empress, which I’ve also referred to as the Angel of Birth. The shoot went rather well, with my student Karli as the Empress being carried by the other four girls. My plan is to paint them with lots of flowers and decorative patterning. Perhaps six months ago I took lots of pictures of babies, and I plan to incorporate them into the painting too, so I’ll be busy drawing up a complex sketch pretty soon. The pose made a diagonal sweep across the frame, with some elegant ballet – style pointed feet meeting at center, and faces close together in a gradually ascending line from lower right to upper left. The girls were terrific! If there’s a seasonal correspondence in the sequence this is definitely Springtime. (Death is Fall, In Between is Winter, Life is Summer).

My old friend Cyn McCurry sent me the canvas I needed from Texas, so I’ll get Joe to help me stretch and gesso the fabric, then get to work drawing the piece up. There’s a lot of prep work to be done in the studio starting now, because we need to get the canvas stretched for this new Angel, and for the In Between painting that I’ll be preparing for in early Fall. Furthermore we have to get the thirty foot piece stretched and gessoed as soon as we can. I’m quite excited to get started on a new piece.

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Leaf fall

I’m moving from Amelia’s verdant green springtime to winter leaves, blown to the feet of the angel of death. So far I’ve painted the base of a grey brown, and begun to render the richer orange browns in that delicious Iron Oxide Red that I like so much. The colour is a little intense at the moment, and we’ll see it fade back a little with a glaze of light grey that will unify the leaves with the rest of the painting. Shadows around the lower right sides of the leaves will make them feel as if they are resting upon the objects behind them, rather than floating above them as they are right now.

Amelia is on hold for a while until I am ready to put more branches into the sides, now coming towards us and darker than the existing work. If I paint these new branches dark, the lighter leaves will appear closer to the orb, giving the painting a strong sense of depth. Forward angled branches will also break up the rather linear pattern of the leaves to the right.

My students are installing their show of icons into the gallery today, so I expect to be pretty busy with them. Reception at six in the Kwan Fong Gallery at CLU!

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Green again

I’ve expanded the range of green leaves across to both sides of the canvas, and I’m surprised to find myself really enjoying the play of the green against the dark background, because I have used green so seldom in the past. I’m thoroughly enjoying this period of foliage painting that I’ve entered. I’ll darken the leaves  I’ve added on the right, behind Amelia, than add a layer of branches that are coming towards us over the top of the first layer, creating a convincing layering of foliage.

Thanks to a lovely new book by Peter Trippi I’ve been admiring the paintings of Waterhouse, the Victorian Pre-Raphaelite who made the fabulous Lady of Shallot that hangs in the Tate Britain in London, close to Millais’ Ophelia. I’m really impressed with his compositions, and plan to use some of his structural ideas in my work. I particularly like the way he divides space into two in his tall canvases, using a light top half against a dark bottom half.

I’m making arrangements to take pictures for the Empress painting on Saturday morning, so I’d better get a bit more drawing done to prepare for the shoot so I know clearly what I want the models to do.

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Virtues

I’ve done a little sketching for the thirty footer, and decided to work with the seven virtues, Temperance, Fortitude, Prudence and Justice, with Faith, Hope and Charity. The wall I’m thinking of for the piece has a large chair and podium in the centre of it, so I think this might work well because of the distinction between the four cardinal virtues and the three church virtues. Hopefully you can see the drawing well enough to make out the figures standing on their gilded spheres. This is the first sketch, so I fully expect to see change before I commit to shooting pictures for the actual painting, nevertheless, I like the idea. I’d started drawing for a quite different piece with a magician entertaining a crowd, but this is more appropriate for the venue and the composition of the wall that’s available. Painting the virtues is also quite fitting to my liking for classical training in the studio; since my students are going to be helping with the piece I’d like them to have an opportunity to work on a substantial piece of work that reflects the foundational training they’ve already had.

I’ve already painted (and sold) Temperance and Justice, and I like the tall playing card design I produced for them. In this case I’ll be working on seven images of virtue instead of the three (Fortitude, Justice, Temperance) found in the tarot, so I’m digging deeply into renaissance symbolism found in emblem books and alchemical texts to make sure that the imagery is correct.

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Leaving it to the shadows

I’ve put a glaze of Sap Green with occasional dabs of Iron Oxide to the leaves, then added shadows of black to the edges of the leaves and around the rocks, which has made everything sit together much more effectively. A good solid days work so far, which I hope to continue this evening.

I picked up a thirty foot canvas yesterday afternoon, ready to stretch onto the wall tomorrow so I can start working on the big painting that I’ll be doing with my class next semester. I’m excited about working with them in this way; it’s a different methodology than anything I’ve tried before, and I’m very curious to see how well it works. I’m going to do the drawing, shoot photos, then the class will render the work onto the canvas, making sure that there is consistency of style in the finished work, in much the same way that the old masters worked with their apprentices.

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Building green

I’m laying down more green and white leaves and gradually filling the space around the rocks with foliage, including the first layer of some grass alongside the roses, seen in the second photo. The white leaves will soon be dry enough for a glaze of sap green, a little cobalt green, and an edging of Iron Oxide Red. The moss is made by using a piece of rough paper dabbed into a light green paint and applied to the canvas to create a speckled texture, followed by a second treatment with a darker green in the same manner. It will need a further layer of an even lighter green with a glaze of yellow over it to make it feel more truthful.

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Foliage

Here’s a before and after shot of how the first layer of the foliage is going down onto the canvas. First I’ve painted the leaves in grey so that the green has a light surface to lay on, or the next layer of transparent Sap Green would simply disappear against the dark background. It’s reading a little too bright, but I expect to see that drop back a bit with the addition of a layer of yellow and some opaque green, finished with a little edging of my favorite Iron Oxide Red, which will tie the leaves to the coat, balancing the palette of the painting a little better. The roses around the caput mortem are particularly bright now, obviously they will drop in value with a similar treatment to those above.

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Trees beside a moonlit creek

It took a while to get warmed up, but once I got moving I managed to cover quite a lot of the canvas, adding a new and more useful layer to the trees which had little substance and needed detail. The patchy grey is broken by black scars in the birch trunks that gives the background a lot more character. Presently the trees are popping a touch more than I would like, but this will change as the next layers gain substance. I’ve done nothing to the area around the orb, which is still soft and grey.

Doing the water was pretty simple, using black to darken the deep side of the ripples and white for the highlights, then pushing a soft one inch brush backwards against the canvas to create a broken, random surface. I’ve added light to the stones, which will need detail to make them work – they’re a bit flat at present.

Finally, I glazed the jacket with a layer of Iron Oxide Orange to return it to life after fixing the hair and hand.

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