This is what I have discovered about my health and the entry from yesterday. There was a “Life Stress Scale” I learned about in nursing school. Things which cause major life stresses are marriage, death, moving, divorce and a new job, and secondary stressors are diets, quitting smoking or other addictions, financial problems (if not major), buying a home, car, etc… I am starting a new job in 10 days so it is not wise to change my life in a way that I have control over like dieting and quitting smoking.
I will start the job and give it 2-4 weeks, I am very adaptable. Then I will start the diet for 2-4 weeks, then attempt to quit smoking. In the interim, I will subtly decrease calories and start drinking water. Sometimes I despise water although we as humans are 70% water. I have never really understood my diversion of water when it is so important. Slowly increasing it by drinking a bottle a day, then two, until I am at a minimum of 4 a day (20oz) is good. Historically I have been known to jump from the frying pan into the flames so I will be conscious of change.
Today I cheated a little on the painting and jumped to Scene V-The Devil. It is said that he was a beautiful angel, a dragon, serpent, so I definitely know he had/has wings and he is “beautiful”. I had started him long ago with his seven heads and ten horns. The halting of my progress was trying to discover how 10 horns fit one 7 heads and which heads are affected. I still have not figured that out. When I have problems with the painting I try to dream of the solutions. Long ago I dreamed that 3 heads were larger and primary and had 2 horns each.
This has become a waste of very expensive paint. How I originally painted The Devil was by placing dabs of Golden (the most expensive paints) Acrylic approximately 6mm high. After time I developed a strategy where a certain amount of time passed where the paint became almost dry and I would smash the dabs as flat as they would go. When they flattened, they would be about 2mm-3mm high and irregular in shape resembling lizard skin. It was perfect and an exciting technique for the texture of the serpent or dragon.
I had even learned to shadow the dragon by placing 1/2 red and 1/2 brown in a single dab which caused a darker and lighter side to each “scale” of his skin. Currently there is an estimated $800.00 worth of paint creating what is completed. The wastefulness is the change I am contemplating although I may be able to save much of what has been created. It is the color (of all things) I am thinking of changing. The good thing is red and green make brown and the brown is determined by the ratios. Changing from red to green may not be too harsh because of brown.
The heads were like snakes but now I want them to look more like dragons, powerful with flared out necks like a raptor dinosaur. The image is fresh in my mind but the transition is not. Definite sketches will have to be done in order not to waste the paint already used. It is estimated that nearly $2000.00 or more will be required to created this “beautiful” beast. It seems ironic that of any character in the painting, he will need the most attention which is typical of his attributes and somehow expected. It will be interesting to see the outcome.
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Tagged acrylics, attributes, beast, beautiful, brown, devil, dinosaur, dragon, ealth, fire, flames, golden acrylic, great serpent, green, heads, horns, lizard, mixing, money, raptor, red, smoking, snake, techniques, time, waste, water, wellness
Golden acrylics are one of the most expensive paints to paint with, so much so that I will have to find another way to create the rich texture of the sky. I want it to rise up from the canvas at least 2mm-3mm, even 4mm of possible. Upon working on it, it was with rapid realization that I noticed the sky requires too much paint to achieve that deep texture. My favorite art supply store is Michaels where just about everything I need for the painting can be found there and if it is not, it can be custom ordered. The other evening I was there, exploring my options and saw texture building mediums. Tonight I will go there and see what I can find to build texture.
The plan is to use Van Gogh’s Starry Night technique but to an extreme. I had read that when Van Gogh made that painting his sight was so deteriorated that the painting reflected how he had come to actually see things due to exposure from the toxic elements of the paint and pigments he used. Paint in modern times is supposed to be free of those life altering toxins which is imperative for artist’ like me who have a very real habit of licking their paint brushes. Further research revealed to me that the Old Master’s often times licked their brushes too. No reason for it was found in my research but I know why I lick my brushes and probably why they did to.
Often times when painting, an artist mixes a custom color that is difficult to duplicate. I find myself adding saliva to the brush to fade the last remaining color away. I used the technique as a shadowing effect, especially with darker colors leaving the same color as mixed, just fading away. I am unsure if the Old Master’s used the technique for any other purpose other than the reason I use it. I am unsure when I started doing it, finding myself with a colored tongue is what brought it to my attention, then I realized exactly when and why I do it.
A while back I had run across an old art store going out of business. They had some powdered pigments in the brightest oranges and yellows. I bought them for a substantial discount. Somehow I had looked right past the skull and crossbones on their labels as I focused on the vibrant colors. That was about 10 years ago and I haven’t ever opened them, afraid of forgetting and licking them as it has become second nature for me. They sit on a shelf where I admire them but am unsure of myself in the middle of painting to remember they are poison.
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Tagged acrylics, art supply, artist, custom, deep, golden acrylics, licking brush, Michaels, Old Masters, paints, poison, starry night, techniques, texture, toxins, van gogh
Oh man…I got up at 5pm, drank 4 cups of coffee, watched it turn into night within 30 minutes of getting up, laid on the couch looking at that damned black horse. I turned over and went back to sleep until 8pm, forced myself to get up and stay up. My eyes remained blurry and felt like paper cuts were in them, I made more coffee. Google images is the most excellent source for research. After searching black horses, red horses, white horses, painted horses, sketched horses, reared horses, horse’s heads and just about any aspect of a horse there is, I began painting over the black horse again.
It took about an hour to thinning cover him with white once more. I believe that canvas is going to be double its original weight! I have used 3-4 ounce bottles of white paint covering and recovering the 30 or so legs and maybe 12 heads and partial bodies…amazing. This time I covered him completely. Tonight I will paint the horse-period….to be continued…
It is 5am and the black horse’s base is done and he looks majestic! How it began was as usual, the brush tightly in my hand, afraid to be free but then I realized: If I make a mistake, I will just paint over it, it is not so hard…lolol. So here I am standing there, tired beyond tired looking at the massive space I have to paint him in. I start with the brush low, in my left hand (I am left-handed), at about the level of my ribs. I hold it with 2 fingers instead of my entire hand and let go! I let the brush go where it wanted to in a soft, flowing way up the hind quarter, to the rear, across the back and into the shoulder as far up as I could reach.
Standing there wobbling on my tiptoes, I let the brush drop and paint splashed all over. I stood back and looked at the frame of the black horse and was finally pleased. I cleaned up the mess and got on the step stool using the same technique for the head and neck. The head was not right, so I did it again, and again and again. I wanted the horse’s head down in a loyal, powerful pose. I had tried it up but he was too close to the locust ascending from the bottomless pit, they were eye to eye. I left the head off and took the canvases down to work on the detail of the body; thousands and thousands of swirls and texture highlighted in metallic blue.
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Tagged bottomless pit, coffee, Four Horsemen, four horses, heads, horses, left-handed, legs, locust, loyal, powerful, sleep, splashed, techniques, tired, white paint