I shall go with Damar Varnish with Linseed/Walnut ( Why Walnut? IDK, just wanted to mimic the European Renaissance Artists – lets see what happens) binder and Turpentine as solvent.
The ‘glossiness’ and ability to retain color is not much to my concerns; But just a means to protect the yellowed and dulled layer of paint from dust and scratches. P.S I do love how a painting painted with Linseed Oils only, darkens and dulls over the decades ( though can be re-lightened in sunlight). It seems to give the painting more grace and ‘importance’ in my opinion. I have been ignoring the ‘Fat over Lean’ Oil:Pigment ratio rule for some time now, I shall try to correct myself in the very next painting.
“Painting media from various recent manufacturers” ~ a-state-of-change.com/
Soluvar final varnish, glossy and very weather-resistant. A superior choice for protecting the finished painting. ~ a-state-of-change.com/
I don’t know, but whenever I see this photograph ( from Pinterest), I hear an inner voice chanting ‘The Realization’.
I woke up this evening after quite a ‘dream’ – a lucid one. The vividness of it baffles me, but a immense break from this Reality is was – like a free ground to experiment with Art and Emotion. A training ground a lucid dream is to me.
I place the background, the foreground – balance the abstract qualities in it as I please.
And then – commit it to memory and hope to show it to others with my trusty paints and the canvas. Just eager to bridge the gap – the gap between reality and my mind.
In my endless experimentation of Art, I am unable to come to a stop.
To become stagnant; embrace only a facet of this ‘Art’?
From Impressionism to Expressionism. Realism to Abstract – all while torn between traditional Art and the Digital side.
so, what have I – what have I come across now? I have gone VECTOR!
Starting with a Vector portrait of a friend of mine – Fahad.
^ This guy, had been urging me to make a vector portrait for quite some time of him. I had remained uninterested – not fascinated by the Vector side. i had my reasons, for I do not feel the sense of belonging to a digital work as one would have with a hand painted traditional one.
- A single, original canvas which had been witness to the artist’s brush and fingertips does not exist – just a sequence of binary code – a series of pulses. Nothing more.
But we do have to be practical, experimentation has it’s fun and digital art does sell. The ‘public’ shows greater interest in their portrait and that- that ‘FanArt’ rather than an original artwork! They need artwork that can be replicated, printed on shirts, cropped to a thumbnail to be set as a ‘profile image’ -
“Whew” finally done!
Now I can move over to the other portrait I have an idea about. I can’t really for sure say how much time this one took, but seems like a total of about 2 and a half hours – give or take some minutes.
This is what it looks like after going through all of it many times, correcting the tones here and there- and using the darker charcoals to have a greater variety of tones in it. Giving it an overall realism.
P.S. Made on my new sketchbook~~
Some promotion for my Facebook Page would be great:
It’s amusing how little things inspire us, and some inspire as such to adopt a new style of art; Do something out of the ordinary – consume ‘life’ in an adventure. To explore new possibilities and to adopt and evolve oneself.
These past few weeks, I have indeed watched a decent share of ‘Great’ films that I consider to be masterpieces of the ‘Cinema’.
Now, here I have painted a portrait of Albert Einstein; A great- great mind of the early 20th Century who poured on our minds the knowledge; to be as technologically advanced as we (the World ) is now. I imagined as, what would it be like to study under his teachings. To be there, one of the students.
// Realism – ( Hyper-realism ? )
Portraiture – this is what urges my finger-tips these days. To grab a brush ( a real brush or a digital one ) and start off- moving closer and closer to achieving ‘the’ Hyper-real. Works so detailed and accurately toned that the result seems near photographic. Though, without the inspiration that those old films provided me with- this would not have been possible. As, the photographs of Einstein are just a few- and for my work I could not use multiple references – as the behaviour of light in nature is complex and imagination fails then- leading the artist in-vain with impractical results. So, a printed image in my hand- I referred to that continually in process of this painting. It is painted just as one would paint a ‘Oil on Canvas’ painting. Only a single layer is used for the subject ( Background layers are separate). Firstly, the rough tonal variations were painted, then the rough micro pores- then the detailed ones; with the lighting continually corrected along the way. The most minute of the details were added without reference, those were by my previous experience with realistic art. Also, hues were altered to end-up with a greyish-brown hue, to promote the feel of ‘importance’. However, nothing was referred for the coat, practising on the canvas, I ended up with a material that mimicked leather- so I went with that.
That is all//