Club No. 3

Oct. 18th, 2010 09:00 pm
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Source: http://Atratus.deviantart.com/art/Club-No-3-116996266

Acrylic on canvas30" x 24"N.B.: Print does not have watermark.
thumbnail

full view )

You can find me as atratus on deviantART.

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Here is a better photograph pf the finished painting. It's a shame that the photograph never quite does justice to the real thing. There are simply unphotographable nuances like the difference between carbon black (which is flat and dense and very, very black) and mars black (which is rich and warm and slightly glossy.) There are subtle stripes on Tessa's shirt (the girl in front with her head in her hands) that absolutely pop on the canvas, but are all but invisible here.
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I finished the painting tonight. There is some glare on Anna's hair (second from the left) in the last frame. I'll take a better picture of it tomorrow. For now, enjoy the time-lapse.
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At this point I'm somewhere around 24-26 hours into this, and I am pretty damned happy with it so far. Of all stupid thnigs, the olives on Rheanna's drink were a lot more challenging than I was expecting (and what the hell is she drinking?). Squid's impossible dress is up next....
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Between being sick and working on some photography projects I haven't had as much time to work on this the last few weeks as I would have liked, but it is coming along.

And for the people who are seeing this via my feed to Facebook - this is actually an animated GIF. Click "view original post" to see it.
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When I went to photograph the progress on my latest painting tonight, the face-recognition actually honed-in on the face I finished today.
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The new painting is coming along nicely. Even though I work in acrylic, I tried something more traditional oil-like approach with the skin tones - building them up in thin, semi-transparent layers. Acrylic has this stigma of being somehow a lesser medium than oil. It's a strange prejudice, considering acrylic doesn't yellow or crack with age like oil. I suspect that is really has to do with two things: 1.) that it has only been around since the 1950's and the post-war anti-mimetic and ultimately anti-painting course of late Modernism and Post-Modernism means there are very few well-known painters who work in acrylic (photorealist Chuck Close would be an exception), and 2.) because it cleans up with water it is an easy medium to get started with so there are a lot of bad acrylic paintings out there.

At this point I'd estimate that I've got about ten to twelve hours of actual painting in on this. It's ironic that my photography, which was meant to just provide source material for paintings, now occupies so much of my time that I don't actually find a lot of time to paint. Being sick didn't help either. Each key frame in the animation represents about an hour and a half worth of work.

1.8 MB animated GIF )
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I've started a new painting based on a photo uploaded to Gothic BC by my fellow photographer Mykl Diekiss.

All my paintings start out as a few feeble pencil lines like this to guide the composition. Most of the detail that will be most challenging isn't drawn in. There's no point to doing that since the necessary underpainting would obliterate the details that will only re-emerge as the more finished layers get added. This is probably my most ambitious painting to date, and at the moment I'm not at all certain how I am going to handle the mesh and fishnet on Rheanna (first figure from the left) or the pattern in Sara's (second figure from the right) dress. Trying to keep Sara's wickedly foreshortened hand from looking like a freakish claw is going to be a challenge, too.

I imagine there will be some cussing and at least one proclamation of my complete inability to paint in the course of this (if it was too easy I wouldn't learn anything, nor would I be proud of it at the end.)
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Red Chair Painting #4 (Tristan Risk)
24" x 30"
Acrylic on canvas.
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The early stages of the fourth Red Chair painting. This a very poor quality photo so a lot of the nuance of the colours is lost.



A few bits and bobs for my next steampunk project. I'm not saying what it is yet other than it will be a product for Elaine's store, Art of Adornment.
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The beginning of Red Chair #4
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All done. I think the jacket came out rather well. I had a hell of a time photographing this, though The face is over-exposed. I'll have to reshoot it on a sunny day. I couldn't get the artificial light even enough.

EDIT 07/01/22: I've replaced the image with a decent photograph with the proper colours and exposure.
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Earlier today I finished off the vest. I knew I was going to have trouble with this before I even started. It's the reason I picked this image to work with. Nick wore just about the most difficult to paint clothing imaginable. The vest is shiny silk with a grey-on-grey pattern and the jacket has a very subtle black-on-black brocade pattern. I think at this point I've actually spent more time on the vest than the face and hands.



Here's were it is as of a few minutes ago. The biggest job remaining is adding the pattern to the jacket, then it is jewelry, fingernails, and a few minor tweaks.

The colour on this second image is a little closer to life than the top image. I don't spend a lot of time setting these in-progress shots up with proper light so these two images together do a good job of how much the colour can vary from image to image.
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Remember this post about how this picture reminded me of the lighting in Academic painting? A few dozen filters, layers, and assorted other Photoshop tricks later, et voilà.

And here is a detail crop so you can appreciate the full effect:
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I haven't had the time to work on this anywhere near as much as I would like, so it's been progressing slowly. I didn't set up this photograph properly so there is a slight glare in the top right that is doing some bad things - there are subtleties in the face and hair that just aren't showing in the picture. I'm going to have to be careful about how I shoot this when it is done.
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I got a little bit of time in on the new Red Chair painting, getting the under-painting done for the light areas, a.k.a. the creepy blue phase.
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I've sketched in the outline for the third of the Red Chair paintings.

Progress on this one will likely be fairly slow since I still have a lot of other constraints on my time over the next three or four weeks, after that a lot of things will start changing.
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I wasn't entirely happy with the painting as it was when I posted it before and did a little more work on it.

A painting is never finished,
it is abandoned.
— Pablo Picasso

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