Beatriz decends from a place that she longs to return to visit Virgil whose soul is suspended in Limbo. She asks Virgil to guide her friend Dante out of the dark forest where he is trapped by three beasts. Virgil describes Beatriz as having eyes that surpassed the spledor of the star’s.
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.
The Art Making Process of a Resin-oil Painting; a Spin-off from a Watercolor.
Most painters work in more than one medium because variety offers many possibilities of expression. I made a spin-off of the watercolor ‘Glass Bottles on top of Antique Closet’ in resin-oil. Resin-oil is a medium in which you mix oil with with thickened linseed oil and Venetian turpentine. This medium gives a candied effect with vivid colors. I use resin-oil in a more expressionistic manner than my watercolor and tempera paintings. I like the happy accidents and drips that show up on the canvas. There is one drawback regarding resin-oil; the room where you paint needs to have plenty of ventilation because the vapors are very strong.
This is the watercolor ‘Glass Bottles on top of Antique Closet’. I chose this to make the resin-oil.
I use linseed oil, thickened linseed oil, Venetian turpentine, dry pigments and odorless petroleum spirits as part of my equipment.
I mix dry pigment with linseed oil.
When you mix the dry pigment with linseed oil with a spatula, the paint has to stand up like butter, not run down to meet the surface.
When you finish your painting session, clean your brushes with petroleum spirit, wash them carefully with warm water and soap and hang them upside down to dry.
I don’t always begin with a drawing, but since I’m making a copy of my watercolor in a different meduim, I want to control the out come.
I always try to work all around the picture plane, developing everything at the same time in order to find harmony.
I’m still working all around the picture plane, putting down the exact color I see in an area and leaving it there without smudging it around the canvas. The dry pigments are on the easel in little plastic containers.
My Favorite Bottles 2015 This is the final result of the resin-oil on canvas.