Sunday, January 1, 2017
Fafhrd Through the Ages
Here's a progression years in the making - beginning in 2014:
Then, just a few days ago, I dusted it off and put in some more work, wanting to see what I could do to it with my upgraded 2016 skills.
This is how it currently stands. It isn't really finished - I wanted to get as much done as I could before the end of the year and get it posted - I may or may not work it some more. Not sure because no matter what, there are fatal flaws with this one that I can't fix, like the stupid J. C. Penny's catalog model pose. Weird thing about it - in many ways I like the previous version better. Because it's so smooth now he looks tender and delicate - and I've completely lost the gesture - the spine has become stiff and straight. But the important thing - I'm really advancing my ability to paint airbrush-smooth, bringing it all up to Ultra-HD resolution. Crisp and clean, with no caffeine! That's really allowing me to work the form and the surface, and I'm also getting increasing control over every aspect of color. Plus thanks to the aforementioned Cheerio Buckle saga, I'm now using my improved dexterity for some much more precise and detailed detail.
Really I don't like this one much. I see it as a transitional piece. I'm halfway to being able to combine the airbrush smoothness with the chunkier, more powerful approach, and hopefully to do it all faster and better. But until then, I guess I'll be making a few weird paintings like this one to develop my control.
Oops - I took too long making this post - it's 2017 already!!
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A thought -- the smooth painting, at least as I'm doing it here, represents the materialist aspect of things - form, surface and light rendered as theoretically perfect - making the body into a mannequin or action figure (or a CGI model). The more painterly or what I'm calling chunky or loose painting is attempting to depict the metaphorical - the spiritual or ethereal, the atmospheric or the inner nature. You must develop skill with both and learn how to combine them in a way that works. It's similar to the differences between prose (prosaic or practical/utilitarian writing) and poetry; the metaphorical/essential/ethereal art of writing. They're two different modes of thought, two different filters for interpreting the world and its meanings, and today it's most common to use either one or the other and to see it as bitterly opposed to the other. That's one of the things I fondly recall about the 60's and 70's - the artists commonly understood how to combine both modes. The world we live in today unfortunately seems to be characterized by divisiveness.
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