Tuesday, October 14, 2014

SmART School Week 6

Rebecca had told me to do one more color study off of her correction, and bring that into class to confirm that I understood where she wanted me to take my color.

This class was mostly me getting the go-ahead on getting the painting itself started: my study was more or less there, and the corrections Rebecca had were minimal (which is good, because something with the Dropbox screwed up and the paint over files disappeared).

So I started the painting.

There is nothing quite like the hatred and despair of a first scrub-in, where everything is awful and nothing works. Usually it's not quite so dramatic, but this was a palette I was still adjusting to, and I've been fighting off a cold/fever for a bit now which of course makes things harder to be positive about.

Usually when I get like this, where my emotional response to my piece is ">:|", the answer is I have to pick a part and just render the crap out of it, to give me something to feel good about.

I kind of lost the drawing in the hand I was working on, and clearly didn't get to the left hand at all, but this makes me happy. Cutting into the hair and getting in the volume of the flesh has gotten my momentum rolling again after what seemed like five years of color studies, haha.

Beyond working on this, I also started thinking about my next piece. I had originally been intending to work on a commission for a friend, and had even taken reference - but it's another ethereal lady with a tree, and doing two of those in a row seemed like a poor choice. So I started looking through my stock of unused thumbs and unexplored projects.

What I found was the original set of thumbnails I did for the IMC from the summer before last. I'd dropped these in favor of what eventually became The Long Path, and for good reasons - but there was something about these that made me come back. Rebecca chose number one, and I started to gather reference for my frankenstein as the week ended.

I have more to do before this is ready to go to drawing, and I need to figure out what part of my gesture is actually achievable by human bodies, but the heart of the painting - Oberon's gesture - is there. Exciting!

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