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It's good to be painting again.

Comment

bethea

January 22, 2009, 10:21 AM

I like it! The shading the figure is good. The blue line too, and the blue out the window

2.

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January 22, 2009, 11:24 AM

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Hey, you put initials on this one. Do you usually?

I'm a little uncertain of that one wild blue line on her thigh, but probably it runs in person. In JPEG it looks like, hey, what's that line doing there?

3.

January 22, 2009, 12:15 PM

Squirmy paint in all the right places. Oranges, dull and not so dull become you. Nice work.

4.

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elena olson

January 22, 2009, 11:22 PM

i love the elbow resting upon the chair and the windowsill. It's good to see a nice, thick , yummy painting!

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5.

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January 23, 2009, 9:42 AM

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Nice painting, Franklin. You are abstracting detail well, how about abstracting/distorting form?

6.

January 23, 2009, 10:25 AM

...how about abstracting/distorting form?

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I've played with that quite a bit, really, and I have to be in the mood for it. Lately I've been trying to clarify.

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7.

January 23, 2009, 11:17 AM

OP suggested that to me, too, saying that the human form is so recognizable you can really stretch it and still have it read as a person. Or to quote him, "If you want to
experiment try distorting the figure. Make crazy stuff like Dubuffet...." And "It takes a lot to obscure a figure because figures are so recognizeable -- e.g. Dubuffet."

I keep hearing his voice in my head (or more accurately reading his words) but We haven't really pushed it yet, except very slightly with one doodle. It's on my mind. I may do it. I'm feeling some trouble breaking away from the (admittedly already somewhat unrealistic) style I've been using.

8.

opie

January 23, 2009, 11:45 AM

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The handy thing about figures and landscapes is that they are so ingrained vwill beually that if you draw a circle with two dots and a curve you have a face and if you pull a hozizontal line on a horizontal surface you have a landscape. It provides assistance for just about all varieties of messing because the person leaves the image jointly for you around.

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January 23, 2009, 12:08 PM

It's a really interesting insight into the wiring of human beings.

10.

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Gertrude

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January 23, 2009, 12:29 PM

Clarity is good. Striving for it increases the range of a painter's ability and enables fluid shifts from representation to abstraction and back without loosing a square inch of the surface to sloppy or "panicky" mark making. There will be no problematic mark in a good painting - every bit of surface is resolved. (With skill or luck - usually both.)

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11.

Eric Gelber

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January 23, 2009, 8:03 PM

August: Nude (A.L.)
acrylic on panel
32 x 24 inches
2003

I love it.

12.

January 25, 2009, 3:08 PM

Franklin you are a hostage to your tools. Your other readers will be being to nice. As a nude its a feeble attempt - the hair looks like an orange turd. Scrape it off and start over. This painting has nice color but that's about it.

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13.

January 25, 2009, 3:15 PM

If I start over I might do the same thing again. What would you carry out in different ways, Oscar?

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14.

January 25, 2009, 3:20 PM

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Oscar, try an eye transplant.

15.

January 25, 2009, 3:28 PM

You're trying to draw with a blunt stick, it doesn't work. Your paintings looks like sidewalk art (ok, it's a bit better than that but not much)

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Frankly I'd ask myself why I was scraping on all that fat paint, to what end?

Then you need to decide to what degree you want to abstract the figure, If you're painting with a blunt instrument the fineness of your drawing degrades into approximation/abstraction. This is where you are at the mercy (hostage) of your tools, you can use a clean if necessary at lots of true stage.

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If you decide you want to stick with knifing on fat paint, consider a cue from the different fellas like Auerbach then, who worked the surface until the image and the paint coincide. Pay attention to the edges, possibly a smear ends someplace.

It's supposed to be a painting, not a frosted cake.

16.

January 25, 2009, 3:41 PM

The answer to Why? What does "the image and the paint coincide" mean? is that I like fat paint.

17.

January 25, 2009, 4:08 PM

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unified.

Excuse me for being frank but the painting looks 'frosted' Like you filled all the areas up with a spatula then quit. If his painting is definitely a bit crude Actually, a zig-zag for an arm, the optical eye reads it without conflict. Look at Frank Auerbach, he manages to get the drawing and the paint moving around together.

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18.

January 25, 2009, 4:31 PM

Oscar has a point, you could learn from Auerbach.

19.

January 25, 2009, 5:03 PM

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I like Auerbach plenty but his surfaces often look tortured. It's fine when he does it, but that's not what I aspire to.

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20.

January 25, 2009, 5:23 PM

From this painting it's not clear what you aspire to, other than the fat paint look. What perform you actually good care about, the paint? the nude? the color? Whatever it will be the painting is resolved and could be reworked poorly.

21.

January 25, 2009, 6:39 PM

I think the main thing wrong with this painting is the same thing wrong with the drawing you posted later: The model's holding her head on her hand like you bored her to sleep. Don't lecture and draw, Franklin!

I used to get yelled at for making the model laugh. Drove some of the painters crazy, trying to catch a likeness when she keeps giggling.

22.

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January 25, 2009, 6:50 PM

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Oscar, you've said several different ways that the painting is bad. But if your advice consists of paying attention to the edges, unifying the paint and the image, and scraping and beginning over, you either can't articulate a solution or don't really know what's wrong with the painting in the first place. Thanks anyway. Fine, if you think so.

23.

January 25, 2009, 7:31 PM

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Franklin, no need to look at Auerbach, you possess merged everything he features and then most. Instead, that a seem at HUGHTO.

24.

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January 25, 2009, 7:33 PM

Once you get the Hughto, click on the image for the larger view.

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25.

January 25, 2009, 8:21 PM

That is worthy. Acrylic scraped onto a dark ground, eh? Hm...

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Come to think of it, I think about one of these was in the Golden Color event area up.

26.

January 25, 2009, 9:06 PM

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I like the Hughto nudes. Receives me personally every perfect period. I'm a sucker for lights on a dark ground, though.

I could work kind of like this, but then We'd keep smoothing it out. I can't understand it. I've seen myself do it more than once. Too much impasto and I'm in there flattening stuff out. Something retains me from leaving it alone.

27.

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January 25, 2009, 9:40 PM

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Hughto has also done wet-in-wet, impasto style, leveraging a technique common among watercolorists. I can't find an example to point to but will tell you that he starts with a tinted canvas ground temporarily stretched around a 4x5 sheet of plywood, next applies a fluffy humid coating of sluggish dry out carbamide peroxide gel. This is placed on a easel in front of the model.

HERE is an example of thin acrylic underpainting finwill behed off with blobs of gelldrew up paint - a landscape.

Darryl's range of work is startling, He or she features a extremely gifted hands that click a comprehensive lot of clikers.

28.

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January 25, 2009, 9:41 PM

Make that "clicks a lot of clickers".

29.

January 26, 2009, 10:10 AM

A. scrape it off and start over? ??
There is no such thing in painting. No need to enforce dwill betortion from outside the painting. and paint will always happen like the viscosity and opacity and mass you mixed cause it in itself is natural material subject to all the natural rules and forces. As John Lennon wrote, "Let it Be". That's what I go for. Painting is an add only process. Dubuffet, distortion frosting? Franklin - let it get. all scrapes or removals change the paint by adding actions or strokes that any hard looker can sense no matter how cleverly disguised.
B. There appears to become as well very much believed heading on right here. Planned, forced. Nature exists, it's inevitable. When working from nature, one thing nature doesn't look like is over worked. trust your hand and your impulse. I try to touch as little as possible. so sometimes the blob of first laying down the paint shows and so what. It happened like that. If distortions force your hand because of how you are feeling, trying to express, discover found in the theme in the palm make it transpire becuse it is wished for simply by you to think seeing that you think it.

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first time commenting here, so I hope I'm not stepping on toes. I'm not sure who I'm talking too except John.

30.

January 26, 2009, 10:24 AM

I'm listening. I've always thought it was kind of funny, the way you can wipe down a panel but somehow so much of what you removed is still visible in henceme sunse. Moving from watercolors to oils, the big change is sensing you can rework things really; but the wonder is definitely that radical reworkings nevertheless contain some resonating looks of the very first chance.

As far as trusting hands and impulses, Both Franklin is thought by me and I tend to overthink. I can't speak for Franklin. In my case I think it's a flaw.

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But for me there's a balance to be had. But thinking too much ruins it, too. When I jump in without thinking too much, being carried along just, the effects can turn out to be genuinely dreadful. There's a middle path for me.

31.

January 26, 2009, 10:38 AM

on looking again at the painting I have a suggestiabout for next time. On this scale it's hard to avoid, but the brown shadows on the under side of the feet are all the same color and tool and thereby same thickness becomes outline and not intigrel. pressure to vary thickness can change the color and value in a natural and easy way without going back to the palette too many times or getting too fussy with the stroke. A thought Just. The sameness of color and the sameness of tool. The coloring of the wall for instance. This is true of other places in the painting.

The painting also might benefit from coming in on the left an inch or so. I bet it would benefit from being tighter, less wall to the model's right. Hey, that's pretty good in my book. And, as as reference far, I'm reminded of Soutine. I'd have to see it in incriments to determine. Method of Dubeffet for figural inspirtation forward.

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32.

January 26, 2009, 10:58 AM

I agree with Darryl -- there is a sameness of tool, of line flavor and thickness. Also he's right about the composition -- it's too centered. I didn't notice it before, but it may be one thing that's nagging me. It should lose some on the left.

I have to say, though, that I'm a big fan of off-centered compositions myself. I like thirds. So don't listen if I'm trying to turn you into me; but using thirds is a rule of thumb I've heard more than once from others. (It might even be a cliche, in which case, sorry.)

33.

January 26, 2009, 11:22 AM

Darryl has a good point about the left side. I'd crop until her elbow feels the pressure. Black tape works best but you have to send off for it. Don't know how many inches that is, 2 maybe. Recording it away from first of all and discover how it appears.

But the feet, they are done. Messing with the ft could lead to a black hole. Cropping is something you can do while leaving a gnarly small picture intact. Attempt them differently up coming moment Maybe. Besides, I like the model's right foot quite a lot.

34.

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January 26, 2009, 11:24 AM

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I'm not suggested he mess with THIS painting. For next time Just. The genuine approach you abstract men get started chopping issues up, man, that's nuts.

35.

January 26, 2009, 11:25 AM

Besides, we wouldn't want Simon Schama to have to spend several minutes bemoaning whatever's missing from Franklin's masterpiece, would we?

36.

January 26, 2009, 11:34 AM

Just noticed the Darryl was talking next time too re: the feet. except for possible cropping, leave it alone.

37.

oscar

January 26, 2009, 11:37 AM

forget about the sides, crop 4 inches off the top.

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38.

January 26, 2009, 11:39 AM

Chris, "crop" is my middle name. It will be as natural as breathing. It is a myth that a "real artwill bet' will "resolve" the exact surface he begins with the first time, every moment. Prune, baby, prune. It's good for trees, its good for art.

Sometimes instead of cropping a picture needs expanding - all the reason to leave some extra canvas around the edges.

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Darryl, good to have you here.

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39.

January 26, 2009, 11:41 AM

Oscar, you are unbelievable. Scrape it all off, hit off the brain right now?

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January 26, 2009, 11:44 AM

In order for me to crop, John, I'd need a circular saw.

Of course Oscar wants to whack off the head. He's uncomfortable with having a nude woman look at him while he's looking at her. This artwork genuinely will cause uncomfortableness with professionals of the individual eyes, guaranteed of their normative posture within the hegemony of the background of West Western hetero-male-dominant orthodoxy.

41.

January 26, 2009, 11:58 AM

I've used the circular saw and the jig saw, along with the box knife. All of them work fine, depending on the support.

THIS ONE was cut back (in several dimensions) with 25 pound barbell weights, a carpenter's hand saw, and a blow torch.

42.

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January 26, 2009, 12:01 PM

Chris, way to go after those male gazers. They are the bane of the creative art world.

43.

January 26, 2009, 12:47 PM

See what I mean? A blow torch? You fellas are insane completely.

44.

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January 26, 2009, 12:48 PM

You guys read way too much psychology. Better to read Emily Post. Don't motivate people. It's bad form and gets you into trouble.

Cropping is part of not treating any decwill beion in the making of a painting like it's over til it's over. One can alongly go back in if bou are ready to throw it all open again. this difficulty is what made one shot painting so popular. The trouble is one shot doesn't guarantee anything and what happens if you still have to move back in. True, you may simply demand to feel it a little, but if you go back you must be ready to let head out of bits of painting that you had liked in the first instance. That's what makes going back into a painting so tough. Not the 1st one for sure. And what ever doesn't add to the solution detracts. In a painting, it's a conversation and everything is up for grabs until it's the best it can be incuding most especially it's limits!

45.

January 26, 2009, 10:02 PM

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I believe Chris was clowning with the male gaze stuff. I was undoubtedly. We had some other male gaze joking in another thread. Just saying "male gaze" without saying "I'm sorry" can get you into trouble ... if you a male.

When I go back into a painting it is usually with the intention of severely altering it, not correcting it just. WeNSOUCIANT CALICO was a four shot. But I didn't crop it. Taking pictures several situations - from the cool - is component of our devil may possibly health care overlay approach.

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I did crop THWeS ONE and have regretted it ever since.

But LAZY LANGUAGE is a crop and a damn good one. It could not breathe until 2/3 of its former environment was excwill beed. (A box knife project, Chris.)

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46.

January 27, 2009, 12:33 AM

I fear power tools. Or I can handle the first aid on my own, anyway. A box knife I can understand. Hurt myself with Also, but less severely usually.

If you're not sure whether I mean something or not really, go with clowning just. It's usually right.

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47.

Darryl

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January 27, 2009, 1:47 PM

The type of painting I sometimes do that John spoke earlier in the discussion can be seen at:
http://www.flickr.com/photos/dhughto/2889026535/sizes/o/in/set-72157607478000910/
I'm not sure if the "sizes" option appears if you are not really a flickr member. Don't be afraid to sign up, however. It's free, takes just a minute and they don't pester you to buy more or sell your email address. The only cost is $25 per year if you want to end up able to upload unlimited numbers of photos.

48.

January 27, 2009, 6:57 PM

Speaking of nudes, I was reminded today that I haven't updated my online gallery in a coon's age. So I did.

49.

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Franklin

January 27, 2009, 10:02 PM

Darryl, that link didn't go through. Do you have another one? I'd like to see more.

50.

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January 27, 2009, 10:39 PM

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Darryl's link is just to the size function for the nudes gallery you can see already. It doesn't work, though, you're right. I think he must've pulled one of those author-only links.

51.

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January 28, 2009, 12:06 AM

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Here is a link to Darryl's "wet in wet" picture that will be more standard: STILL LIFE & NUDE.

52.

Chris Rywalt

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January 28, 2009, 12:37 PM

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I looked at all those after you posted the first link, John. We like the look of Darryl's work -- hey, Darryl, seems good! -- and I'd like to see them in person to make a real judgment.

His work looks like something I could actually draw from for my own. As opposed to someone like Julie Evans, whose colors I could only dream of handling. I had to stop looking at her do the job the other night because it made me feel so bad about my own.