Fruits of my Labor: "Tasty Beverages" (in progress) & more
Working on a new piece, based off of Pulp Fiction for submission to G1998s "Crazy 4 Cult" show. I already mentioned it here, but I'm a masochist and wanted to try and get another piece in for submission (get it? I'm a masochist and I'm submitting....hahaha, nevermind). Originally I had another idea to do a piece based on Death of Marat for the movie Heathers, but while I was figuring out the drawing, this idea popped into my head and just kind of had to get out now ya know? maybe next year for the Heathers piece, none of the kids I go to school with have even seen it, which to me is REALLY depressing. anywho, this one is a split screen of Uma and Samuel L. enjoying their respective drinks, I'm just finishing up the Uma part now.
I've really been into inks since the beginning of the year. Admittedly, this one probably begs to be done in oils, but according to Jensen, he didn't want to say I'd be in the show because Death Race 2000 isn't known well enough and I'm trying to establish a certain style, at least as far as this sort of thing goes. That being said, inks have been all I've been working in for the past 6 months, and I'm liking what I'm getting. I'm still in the process of getting the hang of how I want to use them, but I think I'm getting more and more comfortable with them as I'm going along. Here's where i started:
The thing about inks for me is that like watercolors, you have to build from the ground (the lightest shade) up. As I've had a lot of trouble with contrast, but not necessarily color, this means I can just keep going until it's right, and not have to change everything, unlike oils. Also it's a challenge each time, as one of my teachers JT says "Watercolors are for real men only", which in a sense is true, you have to go with what you get, you can't really go back. Now I'm not doing watercolors, if only because they're a little precious for me, and they never get the impact and deep colors. But as Dali notes in his book "50 Secrets of Magic Craftsmanship", art students used to start out only in watercolors, and only if they were able to make those work could they move on to other mediums.
But like acrylics, there is some measure of being able to go a little bit more opaque. I'm using FW inks, which are officially liquid acrylic, so there is the oppurtunity to "correct" mistakes, but not much, it's a fine line, as you can see in the Uma piece, that shadow on the wrist is pretty messed, partly from trying to correct going too dark too early. But there was a darker shade above the left side of the lip that I was able to fix. Unlike acrylics though, there's an element of chaos inherent in working with inks and watercolors, when trying to blend, which doesn't work in acrylics. There's really no randomness with acrylics, which makes some incredible awesome and detailed paintings, but I want to random, givs it a little more life I think. When I work in acrylics, everything feels to seperate, which I was attracted to oils for a time.
ultimately though, I'm looking for a controlled chaos, like here:
that was last summer, done in illustrator. Leave it to a computer program, based on mathematics and vectors to give me the most random and chaotic results yet. I'm looking to get somewhere there with inks, but I haven't let go enough to get there quite yet.
so yeah, that's where I'm going.
oh, and here's the finished piece for the Eliot Spitzer painting I mentioned last time
if you look closely, you can see 3 butts, 11 boobs, 2 vaginas, and what looks like a baby giving cunnilingus. enjoy.
also, ever since watching the Karate Kid a couple days ago I've had "Cruel Summer" stuck in my head, along with Joe Esposito's "You're the best" (now stuck in my head), The KK had one of the most bangin' soundtracks around, at last by 80's standards. Now I'm gonna go watch Karate Kid and paint.
I've really been into inks since the beginning of the year. Admittedly, this one probably begs to be done in oils, but according to Jensen, he didn't want to say I'd be in the show because Death Race 2000 isn't known well enough and I'm trying to establish a certain style, at least as far as this sort of thing goes. That being said, inks have been all I've been working in for the past 6 months, and I'm liking what I'm getting. I'm still in the process of getting the hang of how I want to use them, but I think I'm getting more and more comfortable with them as I'm going along. Here's where i started:
The thing about inks for me is that like watercolors, you have to build from the ground (the lightest shade) up. As I've had a lot of trouble with contrast, but not necessarily color, this means I can just keep going until it's right, and not have to change everything, unlike oils. Also it's a challenge each time, as one of my teachers JT says "Watercolors are for real men only", which in a sense is true, you have to go with what you get, you can't really go back. Now I'm not doing watercolors, if only because they're a little precious for me, and they never get the impact and deep colors. But as Dali notes in his book "50 Secrets of Magic Craftsmanship", art students used to start out only in watercolors, and only if they were able to make those work could they move on to other mediums.
But like acrylics, there is some measure of being able to go a little bit more opaque. I'm using FW inks, which are officially liquid acrylic, so there is the oppurtunity to "correct" mistakes, but not much, it's a fine line, as you can see in the Uma piece, that shadow on the wrist is pretty messed, partly from trying to correct going too dark too early. But there was a darker shade above the left side of the lip that I was able to fix. Unlike acrylics though, there's an element of chaos inherent in working with inks and watercolors, when trying to blend, which doesn't work in acrylics. There's really no randomness with acrylics, which makes some incredible awesome and detailed paintings, but I want to random, givs it a little more life I think. When I work in acrylics, everything feels to seperate, which I was attracted to oils for a time.
ultimately though, I'm looking for a controlled chaos, like here:
that was last summer, done in illustrator. Leave it to a computer program, based on mathematics and vectors to give me the most random and chaotic results yet. I'm looking to get somewhere there with inks, but I haven't let go enough to get there quite yet.
so yeah, that's where I'm going.
oh, and here's the finished piece for the Eliot Spitzer painting I mentioned last time
if you look closely, you can see 3 butts, 11 boobs, 2 vaginas, and what looks like a baby giving cunnilingus. enjoy.
also, ever since watching the Karate Kid a couple days ago I've had "Cruel Summer" stuck in my head, along with Joe Esposito's "You're the best" (now stuck in my head), The KK had one of the most bangin' soundtracks around, at last by 80's standards. Now I'm gonna go watch Karate Kid and paint.