[Analysis] Terril Welch – FARM IN FOG

[Analysis] Terril Welch - FARM IN FOG

This is part analysis and part assessment.

This painting, fittingly titled the ‘Farm in Fog’, created on a 16×20″ gesso-board with a wood cradle, is quite a rousing piece of Impressionism.
The brush work is very reminiscent of Monet’s ‘The Summer, Poppy Field’ and ‘ Boy Fishing’ by Roy C. Nuse.

The painting describes a scene from a rural area. Free from the urban distortions of nature. We see only a single rooftop surrounded in trees, mist and grass with noticeable frozen dewdrops. The far background in hidden is mist – the contents hidden inside – undefined.

There is heavy fog, and hence low values of contrast. The color palette here seems very limited, I can remark on Burnt Umber, Olive Green, Prussian Green, Titanium White and Venetian Red. An expanse of ‘space’ is created by having a sparse foreground, with only the grass in proper focus and the rest of the trees and that one lone house out-of- focus ( although, paintings are meant to have everything in focus, and not photographic, with focus in the center and blurring out at the edges); hence, the use of ‘Impressionism’ for this has a dual effect, the scene and if interpreted with more ‘reality’, the background receding out of focus.
The use of rough dry brushes, has given it an aged look. As if, it is a painting from one’s vintage collection. The distortions and the ‘age’- make this painting ever more beautiful and sophisticated.

The vibrancy here is not created with color complements, but with the scene itself – regardless of the matte paints. The scene itself is fresh and alive with foliage – and nature. The blades of the grass flutter in the icy cold wind – even in this chill, ‘life’ and ‘nature’ is effervescent.

I recommend anyone who want to bring a splash of freshness into their living-room, to view it in detail ( and consider ordering it at: http://www.artsyhome.com/product/Farm-in-Fog )

Advanced Oil Painting Mediums

See here for some advanced Oil Painting Mediums and Recipes.

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/

 

 

Gone Vector!

And now, I have gone vector.

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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’ –

And hence, the Vector Portrait of Fahad Goraya.
Image
https://www.facebook.com/pages/The-Art-of-Ibrar-Yunus/168155153339571]

“Albert”

“Albert”
A portrait of Albert Einstein

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.
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// Realism – ( Hyper-realism ? )
//Art Process
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//

Portraiture – The Practice work

When I was younger ( 15 -16?), and didn’t really take art and the ‘enthusiasm’ that came with it seriously; I stayed away from making portraits. It was a time when It was hard for me to manage the complexities of creating hands or toes, still I could make faces and correct body proportions.But was far off for creating a realistic skin tone.

And coming to the now, I see that creating a skin tone that resonates with life and ‘energy’ might be one of the many aspects of art that differentiate artists. Quite, yesterday was it when I stumbled upon a very very inspiring artwork by an unmentioned artist in that post. Here: Image
In this artwork, I see how the artist has applied his/her mastery of tonal variations. It might be devoid of ‘skin tones’, but I see that one’s experimentation of painting a rather metallic tone does indeed work very well.
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Well, here a complete painting ( be uploaded later), this is how it  formed:
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The trace and the ‘base’ of colors, notice how bright and plastic-like it feels in this?
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cats3few

As I do love a wee bit of abstract qualities in all of my artworks, here the ends of the hair sharply blend with the background ( or negative-space). The skin is better now, finally adjusting the brightness and saturation to a value that agrees with the realistic qualities to be added in later stages  and also the unsaturated-ness in this seems to promote importance of personality ( the poker-face expression matters too ).
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catsfsegvesgvesf

And now finally the addition ( or illusion) of micro-pores ( which adds the semi-transparent qualities of skin), giving it a more ‘oily’ than dry feel. ( I unknowingly stumbled on this very important bit of information, if it was not for a tutorial on the internet, It might have had taken me much time to figure this out)

Anglerfish are Creepy – II

Anglerfish are Creepy - II

Yup, just made it now, and sharing it everywhere. Making more and more people soil their pants ( most probably) and making for them difficult to sleep at night.
Here’s whats actually an element to put in my fan-art of Fizz from League of Legends. But it really does look good as an artwork on it’s own.

So why the ‘ II ‘; this is actually the second one I made, the first one I shall be sharing soon. Like ‘today’ soon…
Do checkup on my blog later for more artsy stuff //

Dystopia

Dystopia

Created by Ibrar Yunus [ Spiffy ]
Dystopia
Digital Paints
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Titled as Dystopia ( Dark state, environmental-urban deterioration), a total of 3 and a half hours were spent in completing this digital painting. As always I used PaintToolSAI for this, as I wanted blending to be natural (as oil paints are). The idea for this came, after I came across a selective color painting by some artist on Facebook; his/her painting also used purple palette and I felt a sense of ‘royal’ and ‘dream-like’ feelings being emitted by that. Perhaps the fixed emotion ( not happy nor sad ) contributed to some extend to this, but the contrasting background (dark purple behind right purple) promoted this. So moving on, I chose ‘blending’ over ‘contrast’ as it gives ‘softness’ to the painting; even when bright or very dull colors are used. In my paintings i have noticed that colors them selves dont make a painting bright or dull; but they are relative on each other, a painting that uses very bright colors can appear very dull indeed, if the palette doesnt use any contrast.
The ‘figurative’ and ’emotional’ nature of this painting tell us about ones need to go out once in a while and ponder over the apparent darkness of a busy/crowded/mechanized place. This does not mean that darkness exists everywhere, but the thoughts of a ‘young’ mind about one’s survival in the ‘Practical World’. A scene depicting the time of the dawn is shown, as this is the time when the cold breeze brushes against you and one is fresh and ready to go out and then stop! ‘think about whats more to come?’. The butterfly depicts hope, and works as to counter the darkness of the city behind and the painting itself. The orbs add to the lightness of the sky (even though the sky is ‘in’ the background); this is a visual indication that ‘don’t look down and be frightened, keep your hopes high, look up! up at the bright sky; there are surely better things to come!’

As Étoile Bleue, the shades of purple here show ‘dream-like’ presence.
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This concludes the detail analysis by the Artist himself. You are welcome to interpret this in your own way. 🙂