This is the Plaza del Conde de Barajas la Plaza de los Pintores. There are 39 artists who show their work every Sunday from 10-2. I have a little stand there too. As of October I have a permanent stand where I show my art too. I’m really happy about it.
Hope to see you there!
After our funny hail storm in June, these little yellow sun flowers bloomed on the terrace all at once.
I took out my easel and oil paints onto the terrace and started to paint the mini sun flowers early morning.
I mix my own colors with natural pigment bound with linseed oil. The colors are: cadmium lemon yellow, yellow chrome, transparent gold ochre, cadmium orange, magnesium blue, intense crimson, tierra sombra and cadmium red.
I usually start with my favorite part and build around it.
I just try to paint what I see.
I put the exact color and shape on the canvas as quickly and accurately as possible.
Here again the next morning in the hot sun.
Here I started putting in the skyline.
Since all the colors influence each other, I try to find all them as quickly as possible before the light changes.
The background colors are established, so now I start with more detail in the foreground.
I felt as if I had finished the painting at this point and then I couldn’t resist putting a scumble on it to push the back ground into the distance.
So little by little I started building up the foreground, leaving the back ground alone.
Summer June Flowers 2017.
The next day, we came to the foot of a noble castle, circled seven times by high walls. A fair creek encircled the walls, but we crossed it as if it was hard ground. I went in through the seven gates with the sages, and we came to a healthy green meadow.
Jim Belton’s modern language version of Canto II by Dante Alighieri. Click here to read Canto IV.
Dante’s Inferno Canto IV in process – Mixed Technique: Tempera Underpainting and Resin-Oil Finish.
Illustration in Process of Canto IV Limbo.
Canto IV Session 12
“I was among those who are suspended in Limbo, when a Lady called me. She was so blessed and beautiful that I asked her to command me. Her eyes were more luminous than the stars, and she began to speak to me sweetly and quietly, with an angelic voice, in her own tongue.”
Jim Belton’s modern language version of Canto II by Dante Alighieri. Click here to read Canto II.
I start with stretcher bars.
73 cm x 100 cm or 28.74 in x 39.37 in
I’m using duck cloth. It’s heavy, plain woven cotton fabric.
I mounted the material on the stretcher bars, gave it a thin coat of rabbit skin glue (let it dry) and then I primed it. Primer: Mix equal amounts of zinc oxide, calcium sulfate and rabbit skin glue. Pour the rabbit skin glue into the zinc oxide and calcium sulfate little by little mixing with a brush.
Here is the primed canvas on the easel.
Egg tempera emulsion is made by mixing an egg, oil, varnish and water together in a tall flask of equal proportions, shaking after each ingredient in that respective order.
I started off using these earth colors: blanco de España, zinc oxide, verde Veronese, transparent gold ocher and vine black.
This is what the pigments look like when mixed with the emulsion. This is a water based medium.
Egg tempera can be watered down as thinly as you like, but not always as thick as you like.
I start adding color and still painting thinly.
This is the under painting.
Canto IV describes a castle emanating a fire-like-light in limbo within a dark forest void of light.
I used gold leaf to represent the light.
I paint the area where I want to put the gold leaf on because the canvas has to be sealed or the gold leaf won’t stick.
Here, I’ve just started to use oil color. I mixed dry pigment with poppy seed oil. When mixed, the paint should stand up like butter.
Resin oil is a mixture of stand oil, thickened linseed oil and venetian turpentine.
Session 7 resin oil
With wet resin oil, you can paint hair-line brush strokes into it with egg tempera and switch back and forth with tempera and oil. This is a mixed media. You must always follow the rule of fat over lean.
I’m waiting for this painting to dry completely so I can decide whether I want to stop or continue.
I’m putting the imagery together and keeping my rough draft in mind.
According to the poem. There is a luminous castle in Limbo.
So, this is the under-painting with gold leaf, egg tempera and oils.
This is where I left off today.
Starting with a rough draft in watercolor from a thought is the way I sometimes begin a painting; continuing with tempera and finishing with Resin-oil is how I might finish a painting.
I usually do some small rough drafts before starting a painting. These first five drafts are watercolors.
So anyway, this is just what I did. I started with five or six small rough drafts in watercolor. I picked one and started a 80 cm x 100 cm canvas painting of the watercolor in egg tempera technique. After copying the watercolor as best I could, I continued building up the idea and the paint. I finished with resin-oil which gives the finish a candied look.
I like big formats, so I try to have a clear idea. I like large but not too large sizes like 80 cm x 100 cm and 150 cm x 100 cm.
Tempera is great for under-painting or you can leave it as is – unvarnished. It’s so quick and changeable and accepts oil over-painting perfectly well as a finished painting.
The thought is that I’m interested in robotics in the sense of West World and Artificial Intelligence; two emotionally impacting movies I saw that surprised me.
I’ve been looking at some of the latest robots in you tube as well as other things and fiction is becoming reality as usual.
My painting is about how fiction and reality are closely knit.
There is something about robots; I’m sure you’ve noticed too.
Resin Oil on Canvas – In Process