stlukesguild
Well-known member
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With the painting immediately following Mirror Mirror I again began with the idea of two figures standing parallel to each other... and again I began with a male-female pairing:
At this time, I had yet to begun working on the composition for my paintings using the computer or using the projector to rapidly establish the proportions. As a result, all of my paintings at this time began with layers of gestural drawings on top of each other... repeated erasures... and even times where I ended up turning the painting surface over to begin again on the back.
At a certain point in this painting, I found the two side-by-side figures to again be too static... and so I added a third figure... another woman... and then eventually erased the male figure.
I felt the second woman... leaning into the first figure... no longer parallel and no longer filling the entire space... was far more dynamic.
At this point I began to establish the hair so that I could work on the surrounding space. I almost like the girl on the left's hair more at this stage than with what I ended with... but Oh Well.
The figure to the right is seen dropping an apple... alluding to the Biblical Eve. At least I made the right choice in getting rid of that obvious element.
This is one of the first times I used this complementary color harmony of red (cadmium red medium) and green which I would used quite a few times. At this point, the red just screams thanks to the use of fluorescent/neon glazes. The pencil hanging from a tack at the center shows how I employed the most medieval technique to draw large circular elements.
By this time I have zoned in on the theme of Flora (the nymph/goddess of plants and flowers) and fauna (the nymph/goddess of animals: Catwoman)I've blocked the hair in a near black to allow me to work on the gold leaf.
The background employed a contrast of flowers and thorns.
... To be continued...
At this time, I had yet to begun working on the composition for my paintings using the computer or using the projector to rapidly establish the proportions. As a result, all of my paintings at this time began with layers of gestural drawings on top of each other... repeated erasures... and even times where I ended up turning the painting surface over to begin again on the back.
At a certain point in this painting, I found the two side-by-side figures to again be too static... and so I added a third figure... another woman... and then eventually erased the male figure.
I felt the second woman... leaning into the first figure... no longer parallel and no longer filling the entire space... was far more dynamic.
At this point I began to establish the hair so that I could work on the surrounding space. I almost like the girl on the left's hair more at this stage than with what I ended with... but Oh Well.
The figure to the right is seen dropping an apple... alluding to the Biblical Eve. At least I made the right choice in getting rid of that obvious element.This is one of the first times I used this complementary color harmony of red (cadmium red medium) and green which I would used quite a few times. At this point, the red just screams thanks to the use of fluorescent/neon glazes. The pencil hanging from a tack at the center shows how I employed the most medieval technique to draw large circular elements.
By this time I have zoned in on the theme of Flora (the nymph/goddess of plants and flowers) and fauna (the nymph/goddess of animals: Catwoman)I've blocked the hair in a near black to allow me to work on the gold leaf.
The background employed a contrast of flowers and thorns.
... To be continued...
