International Flat Figure Society - British Flat Figure Society
Flat Figures Painters Forum => Gallery => Topic started by: PJDeluhery on October 26, 2013, 11:39:14 AM
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Hello All,
I've been away from painting for the summer due to family obligations and the (sunny/warm!) weather. I've been lurking here during that time but not posting much. However, been back at it for a month or so, and have two things to show you.
After letting all my painting ideas cook for the summer, I decided to try a modified grisaille approach. Not underpainting in as much detail as the Masters because my overcoat is opaque, but using the B&W to work out the shadows and highlights in advance and establish values. So far, I'm pleased with the results. What say ye? Comments and criticisms welcome.
Images also posted in my Latest Works Gallery as well as here.
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You have put me to shame. Really nice Pat. Maybe I am shamed enough to paint something.
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This is quite interesting, it does produce a very different look to the figure. i know Jim Horan and Greg DiFranco also seem to follow a similar approach. I particularly like the clown, the spot light is a nice touch.
Mark 8)
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Clowns?! CLOWNS?!! Aaaauuuugh! Both look good. Are these still in progress? If not, the clown's hair might need more shading/highlighting, as might the white and green shoulder on the archer. The whisker stubble on the archer's face is a nice touch. How did you do it? I'm also working on Trost's Billman bust and I'm looking at the same issue.
What is the 'grisaille' approach?
Cheers,
Glen
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Thanks for the input. Both are complete. The shadows are actually darker but were lightened/contrast reduced by the camera - errr my "natural light" technique. Clown's hair is actually in shadow, though it's hard to tell from the photo. (The only thing harder than painting these things is photographing them!)
Clowns are an interesting subject to me because they provide an opportunity for stark contrasts. This clown is brightly clothed, but has a sad face. I've also done an "evil jester". Interesting - at least to me; but your mileage may vary, contents settle in shipping, etc. etc.
For the beard, I just scrubbed some Payne's Gray into the dry flesh areas. You can also mix your own blue-black, if you like.
Grisaille is basically an old masters technique of underpainting in a monotone (gray or burnt sienna being the two major colors used) to establish values in various areas. Penny Meyer has a video of her Lincoln figure showing this. (I think it's linked elsewhere on this site.) Once you have the underpainting, you use transparent layers over the underpaint that let you color what was once a monotone. Most of my painting is opaque, so the underpainting does not show thru, which is why I always blew off the idea. However, I find that setting the basic areas of value is helpful to me. At some point, I may try the transparent colors on top, but for now I'm just using it to get my values straight.
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They are both very nice Patrick, the clown reminds me of Roger Moore as 007 in Octopussy.
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Well PJ compare this to your early work and I can see you have really refined your style and developed as an artist with his own style, really like the Archer, though to be honest I've always stayed away from clowns... I find them a little disturbing :o
Ray
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Clowns?! CLOWNS?!! Aaaauuuugh! Both look good. Are these still in progress? If not, the clown's hair might need more shading/highlighting, as might the white and green shoulder on the archer. The whisker stubble on the archer's face is a nice touch. How did you do it? I'm also working on Trost's Billman bust and I'm looking at the same issue.
What is the 'grisaille' approach?
Cheers,
Glen
Glen -
After looking at the clown for a while I realized you are right - I have added more shading on the clown's hair. Thanks for the insight. I find that if I put things on the shelf for a while I see areas needing attention that I missed in the initial painting. Thanks for pointing that out to me.
If the clown "creeps out" some of you - good! That's what I was going for. :-*