(Direct link to YouTube video) I shot some video last week while I did that little painting of field combat armor, and here's the result.
In the video, you'll see a few glimpses of my friends painting. So that you can see their work a little more clearly, here are some better scans. Please check back later, because there are more images to come.
Sean Murray, study of Papal guard armor, pen and watercolor.
Greg Shea, pen and ink.
Chad Smith, "Romanesque Ceremonial Armor"
And in case you missed it, here's the painting I did of the field combat armor using watercolor and casein, 5x8 inches.
Great James,
ReplyDeleteIt looks like a great place to paint. I love all these paintings done from you and the others.
Did any of you have problems with lighting? The museum looks authentic in its dark atmosphere, like it would have been in the middle ages.
Also what is the mirror on your setup for?
What a shame they are closing. At least this video is one way the exhibit can live on. By the way, I really enjoyed the video. It was great seeing you work and getting to hear your thoughts on what you were going for with the piece was a great bonus.
ReplyDeleteI'd also like to congratulate Jeanette on her picture! It looks great! She seemed a bit shy about sharing her work when I first met you two; but I want to encourage her to share more, because I like seeing her work!
This is so cool James. It's very interesting.
ReplyDeletePerhaps you've covered this before, but, I'm wondering if you prefer casein (or even watercolor or gouche) for these quick sketches. I know you've done a lot of plein air oil paintings, but you're also doing a lot of work in casein.
I was also wondering if you could talk a little more about the "premiere pensees" or color studies? I was reading about them in your book yesterday. I was trying to find Old Master and Golden Age Illustrator's preliminary color studies and they're not that easy to find.
David, yes, the museum was very dark, and I forgot my portable LED lights, so the camera was doing its best in extremely dim conditions. That's why the video is so grainy and dull in color. Also, I had a hard time seeing what colors I was mixing.
ReplyDeleteI picked up the little rear view mirror in an auto part store, mainly to use as a reducing glass. When I parked it next to the painting, I discovered that it gives the video audience a view of me talking and the scene behind me.
Keith Parker, so far I've favored voiceover after the fact over live narration, but I'm getting more accustomed to talking and working at the same time. I'll pass on your compliments to Jeanette.
Keith Patton, I've been playing with the combination of watercolor as a lay-in step with casein as an opaque finisher. The whole process would feel very natural to an oil painter--I like to think of casein as oil on adrenaline.
Yes, it's hard to find illustrators' or old masters color comps out there. I'll try to do a post about them.
Jim,
ReplyDeleteYour piece was full of life and ACTION! Great job in not ideal lighting conditions. I think a great time was had by all.
Thanks again for the invite.
Looking forward to the next "expedition".
Another great instructional video!
ReplyDelete"Relax after getting the drawing right"...one can see and feel your relaxation thereafter;-)
How about "Relax while getting the drawing?" Me thinks that would be next to impossible...
"Finding the big shapes", that video chapter is also very well illustrated here, seeing yours handling that large brush.
I particularily like how you took the freedom to change the fighting chap's pose at the right, changing the arm etc...that quite added some dynamics, IMO.
And the multiple reflections in such a suit of armor : you've explored and caught that successfully as well.
It's tremendous to watch you start with a bunch of olive drab blotches and transform that into something so vibrant.
ReplyDeleteThank you for blogging, I always enjoy visiting.