Portrait : Strong Start

I had a nice strong start in this project which only drives me to see how far I can take it. My technique seems to be self satisfactory, the piece looks good and bears some resemblance to myself. Now I have to see if my colour choices will work out and if my technical set up will work, but thus far seems fine.

My concerns right now is if I set the colour tone too red, I don't mind it being dark and actually dark is what I prefer to a powdery, chalky look. My lips seem a little too re, which I can aid with a little yellow and white. Yet I don't want to lose what I have already done. I am yet to put in the spectacles but not too scared (does not mean I am not concerned), I aim to get the eyes done then put the glasses over it.

Slowly the portrait is getting closer to the photo, I am going with blind faith.  For the least despite learning and cutting teeth for the next portrait; I must admit I am having fun.

Simpler is Easier

Portrait Research

My research for the first portrait project started off differently. I worked backwards. Instead of looking at other artists and drawing inspiration, I made a rough self sketch and decided to match it back to an artist to see what I am most likely follow. I looked at artist portraits that I knew first.

Rembrandt, Van Gogh and Frida Kahlo all have portraits that are very unflattering to themselves. This could of been intended to push a message as is known with Van Gogh  or Frida. So I was encouraged to try for what I see in my own reflection, though Rembrandt and Van Gogh's style of course is unattainable and I found Frida's subject matter to be far too literal, though her style was something I feel I could work towards in years to come.

Kara Walker's artwork is simply pure genius and far from any minuscule talent I may have. Kahinde Wiley has a style that I would also steer towards, especially as he is niche into African American subjects there is much to learn for the blending of colours in this piece.  In the end it was between Wiley and David Hockney. Maybe a mixture,  a use of media like Wiley, use of scale and pose like Hockney though and very much his subject matter.

I see that Hockney's style  is different from what I may work in, but his subject matter seems very honest. He sees beauty in the everyday and captures in on canvas.Wiley's work as great as it is would be very self serving for me and worse yet to attempt for a self portrait.

As always my technical limitations will limit my success of my piece, but thanks  to a great demonstration last class and the growing knowledge of a forgiving media I feel will compromise a good end result.

I voted for this initial project because I wanted to try with a simple portrait first before I rise to include content.

Compromise and correction ...

Its strange how the word compromise has the word "promise" in it, here the promise is too myself. In retrospect of my piece I realise how much faster I would of had it done if I was not so bent on perfection. But in defence of my perfectionism is it not in an artist soul to have a message in his art, even in a still life piece he should be saying "I feel these are beautiful in my mind" and hence go about a process in realising his vision.

Well My visions does not match my skill, which should be correct because I have not been at this that long. Here is where the post modern world wrecks a new artists, it has all been done; and if inspired by something that has been done you are always somehow in its shadow.

I feel my work in still life and oil is far from done, and something that I can see myself doing at least weekly. By the time I am 60, I should of gained some true insight :)

A Cylinder, A Sphere, a Cube or a Cone

It didn't take long and is fairly embarrassing to know that I could not see images in these technical shapes. But just one afternoon has already worked to see and capture objects closer to their actual spacial capacity.
In De Renya's book he also addresses light & darks, different media and even uses the four shape approach to human form.
By this time next week I should have my technical problems well in process and already be working into the human form for my next project.

Now I can't seem to turn it off, I feel like I can now see binary code in Matrix.
There is no Spoon...

Foundations

It is far too late to restart my colour project. I will work on it best I can to achieve the projects objectives of colour and use of paint.
Hopefully these aids will help my next project. It will mean many sketches but I see my biggest problem as technical.
Inspiration from other artists are simply allowing me to aspire to their completed works, knowing the destination but having no map. If I am ever to be able to create my own art that I can be proud of I need to cut it off, start fresh, remember all the galleries and Museums I have seen to know where it can lead me, but know to achieve this I need to work on me first. This is a personal goal and not vanity.

When I no longer have to worry about the technical then I can truly create ....

A good sailor does not learn his skill on calm seas.

Wipeout

It is strange, I am in the inevitable purgatory of a piece where your expectations meets reality. Funny enough it is not the paint, not the colour but the simplicity of capturing the objects on the canvas that has beat me. Despite taking time to sketch before so I won't have the technical mistakes, they are still there.

It is simply a slap in the face that I can finesse a tweak so many types of media, but I still cannot capture simple shape and perspective in a piece. How can I own the place, the object the person in an artwork when what I do looks nothing like what I see beauty in. If it was intended to change the image some then It would be fine. But knowing I am simply trying to capture its essence and can't do it. How then do I then add my own artistic spin on what I see or feel.

Somewhere I missed something, a rudimentary skill that inspiration effort and drive cannot help.

In the face of always certain technical problems, I feel that the only solution is a Wipeout. Not just for this project but for all artistic endeavours. I feel I am just dumb enough to start all over again.

It is either this or give up ... but I can't,  love it too much.

Van Riswick Reflection

I looked at several of Van Riswick's videos regarding colour and still life non-organic subjects. For the least it gives me inspiration. Van Riswick worked thin to thick, but how he did it was by going the true way ... mass then detail. He seemed unconcerned about how the composition looked in the midst of project. This I expect takes a certain degree of confidence. I guess I always seem to try and get something on canvas that looks like the subject to give me inspiration to do the rest. Confidence is key, I still believe that technically I will have to take steps to improve skills. But once it is well and done the end result needs to be finished and not photo perfect.

I am ready for the next project,  probably will make a proper mess but will not stop till I get it right :)

Colourless

I knew the objective of this project and must say that it gave me a perspective of colour that I could not of dreamt of.  Oil colour on canvas is far from anything I had ever dealt with because I am used to working in CMYK or RGB. The use of the  medium to change a colours opacity on canvas was also not anticipated. What worries me now is the colour still life that we will start next. I am not completely sure that I understand how to work from thin to thick on canvas in colour. I hope to start with a particular colour, add in the darks and work for the lights. But for this I would start thick then put lighter shades on it. So I need to find another process.
In the next project I feel my challenges will the following:
• Composition Left side problems (will have to work left to right)
• Colour tones and finessing (will have to experiment some more)
• Still Life sketch capture (Will have to make a few initial sketches)

I think I need some help from Van Riswick.

Colour Wheel :s

I understood the task and approached it as logical as possible. The mixing of the colours actually didn't test me too much, other than the violet that looked more like a brown. Up to today I am not sure I did it correctly.
What really tested me was the angles, I now feel that in every artwork that the left of my canvas will be look less sharp as the right. In the next project I will have to find ways to adapt, improvise and overcome :)
I also learned that using a charcoal pencil to trace things before hand is not advised. My entire colour wheel was a hue darker because of it :s

Simple Inspiration: The Red Violin

Film often inspires me even when it is about an art medium apart from any I know.  I was first drawn to this film from its soundtrack, it seemed to haunt me for years the sound of the violin screeching sweet yet sincere. Thanks to Netflix my wife and I managed to see it last-night. It was refreshing to see a film that effortlessly covered many countries, languages and a timeline of over 500 years. It was one of those films that I probably will not look at for sometime but will get my recommendation to anybody who is a fan of good films. As i progress to work on any new projects I wonder if I will ever produce something that may last so long ...

Project 1, Values: The Conclusion

I enjoyed this project much more than I thought I would, in retrospect I got allot more done with the medium than I expected. 

Critique was very constructive as my colleagues illustrated my harsh use of white on the Pepper, need to lighten-up around the cherries and work more on soft tones on the left side of the fabric. 

My greatest surprise has to be that everyone seemed to appreciate my soft tones on the fabric at the bottom of the composition. I honestly would like another stab at the black and white still life, but seems we are going full steam ahead into colour. Maybe it is for the best not too dwell in simple tones just because I want to perfect it.

Simple Inspiration

I have to be doing something right :)

Van Riswick reprise ...

Looking at Van Riswick's egg video again, now that I have executed my still life all is see .. error after error. I feel like I started with a plan and then just went rogue on the project.
Not sure if this is a bad thing, because there has to be something to be said about personal style, so is it my personal style that came through are just past experience with charcoal?
Any which way I think the lesson to take away from this is compromise, learn from those who know and kick my own spin on it.

Project 1, Values: The execution

As with anything, my expectations for this project is completely inverted.
I expected the medium to be my major hurdle, and I am in no way saying I am strongly proficient but I am saying that I am making it work.
What is testing me is my sketching skills, I have trouble making the pear not seem flat and flying in the air. I have taken to using some artistic licence in my composition to make the back of the painting look darker to give back some perspective. So far I am not sure if I have been able to get the done for the "pear" convincingly. The cloth is a severe tragedy as I forgot how useless I am an capturing the illusion of fabric. In all so far I am happy with how far I have gotten yet a little frustrated with how unpolished skills are getting in my way in working forward.

I welcome critique to know where I am going wrong ...

Full Messy Alchemy

Thinking of art in the realm of science is not good for me. To think that there may be a formula or equation that may bring your work to a certain outcome is actually something that I may invest time in. A fact that may bring my skills in check.
The author clearly did not have much love for Monet but did do diligent research about him. When he put forward that "Monet is Chaos" I feel that it at least has to be Calculated complicated chaos because I am yet to come across any Monet painting that I did not like. In Monet's "Chaos" for the least one comes upon a work that is pleasing to the eye. Creating original chaos that is beautiful has to simply be genius to say the least.
But the idea of chemicals and concoctions to drive one's mixtures for artwork does inspire me. Thinking in the Post Modern life of any artist today I have all but given up of ever doing some original work. Just last week I did a logo for a friend in Trinidad that I tied to their Indian origins, calculated for the number of family and nature of the business,  but the end result looked far to close to BP logo and I had to scrap it.

Though I may not go as far as to find dragon's blood or any blood for that matter. I feel that the idea of the chemical reaction on one's canvas are endless, and gives me a strong sense of hope in future endeavours. But having no chemistry background and the limitless array of substances to use I wonder how and where I might begin.

Caravaggio - David and Goliath

Michelangelo Meris da Caravaggio is a Milanese Italian Baroque is late 16th Century to 17th Century artist who preferred oil on canvas medium. His body of work seems to be concentrated on biblical subjects. My interest in Caravaggio's work has always been through his use of detail, perfection of the human anatomy and energy or movement in his pieces. His depiction of subject matter has always thrilled my senses as it showed aspects of known stories in an different manner than what one would expect. His "David and Goliath" piece inspires me in his use of values, but more so in his eye for detail in hair and cloth. All work to create a sense of motion that I would love to aspire to. His sense of values takes the action of his subjects and softens it to make it pleasing or easier on the eye. I have always been interest in Caravaggio's work from a biblical sense because of his depiction are so different to what you would learn in through church, work that takes the known simply and adds a different angle. In the heart of every artist is to say something through mediums to create an opinion. In my work in oil and canvas I can only hope to aspire to do the same. 

Project 1, Values: The setup

Our first two projects has already been merged into one. My expectations for this  project is little to none; meaning I intend to make a great big mess.I have no familiarity with the medium and my first day has me feeling very clumsy and out of place. I have no idea if I have mixed my medium properly, prepped my canvas or even chosen a subject that will work well for the project. The good thing is using the guidance given and experience I have, I doubt it I will make a complete fiasco. Van Riswick's video has made it seem simple but I know that seeing it and doing it are two completely different pitch's apart.

Jos Van Riswick

I titled the blog the artists name just so my professor might know him more than "the Dutch guy". This will be a two tiered blog, the first will be my expectations before doing the project because of the video, the second will be the reality of my artwork.
I can only wish I can have Van Riswick's talent as his end result does not only have a strong likeness to an egg but also a beautiful oil paint appeal. It showcases his talent and eye for detail.
Van Riswick's (this is an ad copy technique, mentioning his name more than once so you remember) time taken and process seems almost too simple. It has already inspired me to work but I have to remember that this is my first indulgence into oil paint and it will come with allot of frustration.

Superfluous

I can remember my 11th Birthday. My father insisted on getting me a "practical gift", my mother and older brother insisted on getting me something I would enjoy. So I received two gifts, A cassette album of Poison - Open up and Say Ah; and drawing instruments with a Ladybird book "How to Draw".
Looking back now it probably was my best birthday gift ever, inspiration, guidance and materials. And though I have long forgotten any of that Poison album, I can still remember the first few lines in the Ladybird book. The first line read "Drawing is the only true way looking at anything".
de Botton covers this in his book easily through his explanations of Ruskin. I have very much believed that everyone should learn how to draw or sketch. But I feel I have only believed so because I believe if I can do it anyone can do it. Ruskin's reasons are far more noble.
Their thoughts of travel and places very much resonated with me; though I feel to really get a feel for any destination you need at least three weeks. One must balance the good and bad to truly appreciate any place. But to capture it, to possess what you love about any one one place has been one of my life dreams. I have always aimed to do this with people; believing that the world is beautiful but nothing without people to have an emotional connection.
I have never been able to capture things with a camera. It always seemed Superfluous as Ruskin said . If "Art is to be in praise of something you love"; to possess it's beauty and to forever have a connection to the emotion you feel when  you went there, then the snap of a camera to me does sometimes feel far too cheap an option.
Yet my sketching skills has always felt to hard an investment, because if it is something I love then I never feel it is up to the standard of what I see or how I feel. Somewhere in the detail of a brick or the mass of the entire building makes me feel that I cannot transfer the emotion on.
Maybe the truth is it is in a lack of skill. Or maybe I see beauty in too many things. But when I see something and fall in love with its image, I draw it and really seem to see it. But somehow the illusion on paper can never measure up to the physical object or place.
Do I see more than is really there or is it I cannot put everything I see on paper?

The aim

I have not even held a brush in my hand yet but my preconception for this course still count and I expect them to change.
I have the ability to get good at many things but never great. With this attitude one may ask why would a 35 year old man go to another skill. Purely because I believe that somewhere in the grand theme of things I must have a purpose on this Earth. And having been wrong before I feel it necessary to challenge myself.

I have never worked with any wet media, and maybe just maybe in coming out of my comfort zone I can find a new approach to art, projects and life.

Easier said than done, but every time I think of putting a brush to canvas (which I have almost never done), tears come to my eyes as if it was something I was meant to do. But life being what it is, I am have become less experienced and more pessimistic about goals. Or maybe I have become very experienced at being pessimistic :)
Never the less, I have never embarked on a project and not learnt something about myself. Hence it should not hurt so much to be "Wrong" this time.

Wrong the Hard way

It is interesting how the public loves a comeback story. How a protagonist can fall from their horse, tripped by some cruel fate, made a bad decision ... been wrong and yet still comeback for a "Victory".
Yet in the regular world the thought of being wrong and having to make twice the effort to get back on your horse is probably the scariest idea possible to people.
I have been wrong, and paid the price and got back on that horse, yet I still have a fear of being wrong. I know I can make a comeback, I know how to bounce out of trouble and I know I will not quit, so why be scared?
I guess the thought process simply sways toward my ego. It means that I have been  running in the wrong direction and in some part it hurts one emotionally. The decision to take another course or start all over again has already been made, but somewhere in your mind you do not want to hear this.
Is it Ego? Is it laziness?
These are questions I will continue to ponder until my next mistake. But let me say this, I have never not learnt from a mistake, so mistakes have their merit.
I guess it simply does not make the Creative process any easier.