There was this awesome sunset the other day, I didn't get that great of a shot, but you get the idea. I always want to paint that sunset, but I'm not sure if it's possible without an airbrush, and I sure can't afford one of those. Then a shot of my part of the studio right now. I've got paintings everywhere just waiting for the show. It looks like I'm going to be losing the studio soon, but it was great while it lasted.
I've been spending more time in the sketch phase lately, with good results if I say so myself. Here you can see basically the whole process, except some of my other thumbs. Spending more time working out the colors in Photoshop before going to the final saved me a lot of time and frustration. I don't know why I wasn't doing that before, but I will from now on. It's taken me a while to become patient enough to spend a whole day just making sure the rough was settled, I've always been so eager to get into the painting. The background in from another painting, and the wood didn't match, but I'll make sure to correct that next time because it makes a big difference when you're particular about colors. I was lucky to find a large lid to use for the large circle. I'm in a great place right now, after working hard all summer I've sorted out A LOT of issues. I'm really happy doing these paintings, and even though I'm not sure how they will be received, I don't care, and that's a first. I love them, and I don't care if I'm the only one. My paintings are building on themselves and there's a progression that's apparent, which is a great sign for me. In the past I've been extremely fickle stylistically, and I think that stems from a lot of insecurity, and worrying too much about what others thought. I'm glad I finally understand that. I can thank sidebar for helping me get my head on straight. The interviews on there with weathered illustration professionals pretty much got me back on the right path. Like I said, I'm in a great place.
Haven't done a process post in a while! My process changes, but I'm happy with the way the last 2 paintings came out (I did it this way). I think they were most successful because I spend more time in the sketching phase, so that when it came time to bust out the painting it was like "the 1 inch punch". You can see here the thumbnail sketch, which is actually about 4 inches high. I like this size because I can still see what I'm drawing, but it doesn't take me too long, and altering it is easy. I don't feel too committed to the drawing. I liked this after much erasing and scanned it. Then in PS I did some compositional variations and worked some backgrounds until I had something I liked. Here is the pencil sketch from phase 3, but originally it was the thumb. The large puff of smoke wasn't working for me compositionally. So, then I took the girl out, blew her up to fit as big as possible on and 8.5x11 sheet of paper, and traced her onto another sheet of printer paper. Her right boob was in a place normally seen on much older women, so I moved that up and tightened things. Scanned this new tighter drawing and blew it up to the size it would be on the panel. I printed that out in 2 pieces and taped them together. Then I traced that onto the wood panel using graphite tracing paper. This only really works if you have a couple layers of matte medium or something on the wood already. So yeah...painted it up. It came out really clean for some reason, I don't know where that came from, but I like it anyway. Sorry for the rush, but I've been here for 10 hours, and I gotta bike home and go to bed so I can wake up early and do it again tomorrow. Hearts!
Lately my paintings have been about San Francisco, and whatever I'm seeing that influences me. You don't have to go far in SF to find pretty, well embellished women like the one I depicted here. I should note that I put the REBEL8 logo on her right arm. REBEL8 is a notable name in the tattoo culture in SF, and even though I'm not part that crowd, I still hear about it constantly. I also added it because I have a lot of respect for Mike Giant as an artist. I hope they don't feel slighted about it, and understand where I'm coming from.
I personally only have a couple tattoos, even though I like them. For one reason or another it's never a good time to get more work done, usually because I have no money. Lots of people have tattoos from my drawings, and once I even did a tattoo on a guy. A lot of people have asked me over the years if I wanted to do tattoos, and I would because any job where you draw is awesome for me, but there's a few things that give me reservations.
1. I don't have the book for it. I'd have to do drawings of a bunch of different designs, and I've usually got something more pressing to work on. 2. Just about every tattoo artist I've met told me not to get into it. They apparently don't like their line of work. You have to deal with a lot of surly or ghetto folks, and often they don't shower, high risk of blood born illness, things like that. 3. Tattoo shops are often not ok with homos. I'm sure some are, especially in SF, but I don't know which ones. Even though that's something I mostly keep to myself, and am not flamboyant, it still could be and issue. 4. Apparently getting and apprenticeship in SF is really tough in spite of the large number of shops, and it's even harder if you're not already well tattooed. Also, I've noticed that tattoo shops are much more receptive to people they know, or even friends of friends. If you're some random dude that comes in off the street they aren't so nice. 5. I'm drug free, including alcohol, for various reasons. I'm not a prick about it, I hang out at parties and it's no big deal, it's a personal decision. I don't even like to bring it up, but I think that wouldn't go over well in a lot of shops. 6. Tribal and dolphins.
If I could find a place that would take me on as an apprentice and not mind that I'm a drug free homo, that would be awesome. I'm looking into telemarketing and security jobs because I haven't been able to find anything for the past 10 months, so in spite of the disadvantages, it couldn't be worse than that. Can't beat drawing every day and getting paid for it.
Ya, couple of new guys. Getting down to the home stretch for my show in September, and I've spent a little too long on some of my paintings. The second one is a prime example. I spent like 6 days painting things out and making new elements, changing colors. Too long, but I'm not a factory, and some times paintings don't go very smoothly. The portrait was a day painting. Often day paintings end up being the best ones. Tentacles was a day painting, so was GFP, Lipstick, and others. They end up being more fresh and the strokes look confident. The last one is one of my favorites so far. I started using acrylics in a wet-on-wet technique as one might with watercolors and I'm happy with the results. Can't write a long blog right now, gotta bust out more paintings.