Do
you ever find yourself trying to make a really good copy of your
photograph? (It's okay to say "yes"! We've all done it. It's just the
natural thing to do). But I'd like to talk about how you might use your
photographs simply as a "jumping off point" for a painting.
How
to do it? I find that if I have a bit of a fantasy about what I want
the painting to look like, or a story to tell, then I can get my
imagination going down a path towards an idea that surpasses the photo.
Here's my initial inspiration:
I
took this photograph over a year ago. The minute I saw this young woman
with her boxing gloves, I knew there was a painting there.
I asked her to pose for me, standing with her arms by her sides, looking straight ahead, and "don't smile!". There was to be no aggressiveness in her stance;
I asked her to pose for me, standing with her arms by her sides, looking straight ahead, and "don't smile!". There was to be no aggressiveness in her stance;
the
appeal to me is in the contradiction between her sweetness and the
associations that come with boxing gloves and a punching bag.
It's taken 14 months for me to finally do the painting that I dreamed of because even thought I was so excited about what I wanted this painting to say, I wasn't clear about what method I could use to make it happen.
It's taken 14 months for me to finally do the painting that I dreamed of because even thought I was so excited about what I wanted this painting to say, I wasn't clear about what method I could use to make it happen.
My first attempt was merely a poor copy of the photograph with none of the magic that I longed for.
I didn't finish it because it became painfully obvious that it was not going to work. I spent three days on this 22 x 30" "study". I had even hired another young woman to come and pose for me so that I could draw the legs and feet correctly as my photograph did not provide enough information.
I didn't finish it because it became painfully obvious that it was not going to work. I spent three days on this 22 x 30" "study". I had even hired another young woman to come and pose for me so that I could draw the legs and feet correctly as my photograph did not provide enough information.
By now I realized that I had lost my concept in the first try.
My second attempt.
I made major changes in my approach.
I made major changes in my approach.
My
passion for this painting was the contradiction between the
vulnerability of a seventeen year old and her innocent confidence in her
ability to face the world.
I
decided that I would use hot press paper instead of cold press as I had
the first time and fluid acrylics rather than "regular" watercolors.
I masked out each of the flowers, and painted the background all around the figure.
After completing the figure, I painted each flower.
My last step was to paint black watercolor at the top of the painting and drag it down over the entire painting. Because
everything else was painted with fluid acrylics and was permanent, it
did not lift when I pulled the black pigment over it.
I'll be back tomorrow with the last chapter of the birth of this painting. I am so happy that it came to a good ending!
I really enjoy getting these e-lessons. It is helpful to get new ideas, perspectives, techniques while I work in the isolation of my studio. Thank you!
ReplyDeleteIt's wonderful to hear this, Barbara. I really enjoy thinking of how things that happen for (and TO me!) in the studio might be valuable to other artists. We're all on a path; thanks so much for writing.
DeleteFirst of all thank you Evelyn for all these great mini lessons. I have learned a lot from you.
ReplyDeleteI want to make a comment on the Boxing Girl painting. I really like your final version but I must say that the second version (acrylic and watercolor) really speaks to me. I see her vulnerability and her determination to be able to defend herself but also her despair that she needs to do so in today's world of so much violence against women. Thank you for sharing your process with us.
Rosita, that's very good to hear. We all see different things in a painting and it's so informative to get feedback. I appreciate your insights. I am very curious to see what will happen in my next painting in this series; it is invading my dreams!
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