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Young Skin + How To See Light by *winst

Categories Traditional Art > Paintings > People

Details
Submitted: November 19, 2007
File Size: 1.4 MB
Image Size: 145 KB
Resolution: 800×800
Comments: 46
Favourites & Collections: 117 [who?]

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Picture
Make: Canon
Model: Canon EOS DIGITAL REBEL XT
Shutter Speed: 1/200 second
F Number: F/2.5
Focal Length: 50 mm
ISO Speed: 800
Date Picture Taken: Dec 20, 2007, 9:35:51 PM

Artist's Comments

In the title, "+" = "and"
36" x 36"
acrylic, oil on canvas

12.19.07: Finally re-worked and finished, now no longer a distraction.

The idea here was paramount to keeping me on track with this painting. Slowly I'm learning that a lot of answers (concerning artistic choices) come with a simple return to the original inspiration, not to be so difficultly tracked in a barrage of "trial and error" paint daubs and haphazard shapes.

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~merrowman

Nov 19, 2007, 11:49:16 PM

this is really really quite wonderful! i love the composition and the marks are great as always!

~Daaakota

Nov 19, 2007, 11:56:03 PM

This is amazing... like always...
I was wondering, How do you get the dripping paint? Is it intentional, or do you just not stop it from happening. Ive never had acrylics drip, and I would like to try it. If you would mind, of course. Do you add some sort of thinner?

~soultown

Nov 19, 2007, 11:58:07 PM

Have you been looking at Lucien Freud?

His chin is blue. And green.
And it makes sense.

He looks more human, more down to earth, than a lot of your dreamy model types. Is this somebody you know? Maybe that makes the difference

--
Ribston Pippin'.

~soultown

Nov 20, 2007, 12:04:22 AM

two things: the chin looks disproportionate, although this could be down to the angle, and the hair seems to be completely separate from the head

--
Ribston Pippin'.

~rofizano

Nov 20, 2007, 4:36:24 AM

great use of colour

--
Above all, it is a matter of loving art, not understanding it.

`alchemism

Nov 20, 2007, 6:06:25 AM

You know, I'm doing my MFA now, and it's surprising how many of the other students continue to use the 'trial and error' method - lending their paintings continuous layering and repaints. I've worked the same way, but find decisiveness more challenging in the end. Just putting paint on in a confident way seems more fruitful from how much time I spend on a work, to how much material I use.

Nice job on the face and right pec.

--
www.scotteveringham.com

*BRipin

Nov 20, 2007, 6:29:54 AM

I really like the color tones you used on his body!

--
Make my day by visiting my gallery.

*winst

Nov 20, 2007, 6:57:27 AM

You get two different effects -- one, the trial and error, is a last and first resort when you're stuck (in that it may not be preferable, but is the immediate response to a sudden lack of progression). And, if it's successful, the result works aesthetically.

That may be a simplification, but I know my own tendency to just "play around" until something clicks--which is definitely an approach in of itself, but often drives me to such crazy levels of frustration. I almost resorted to doing that here, but then I kind of steadied myself and, as you said, confidently laid out the idea(s) I had in me from the get-go.

...

Hah! "The face and the right pec" -- how specific