Friday, August 29, 2014
Making The Golem
Over the years I've kept a painting journal with notes regarding technique, concept ideas, color combinations, critiques and whatever I was thinking about at the time. Some of these are valuable to me to go back over. Many of the notes are personal, such as conversations I've had with other artists, editors and art directors. Some of the notes are incomplete thoughts, and shorthand ramblings.
Here is an entry from November 20th 1994, labeled Making The Golem. Some of this was scribbled sideways in the margins. It made sense to me at the time, I know it reads awkwardly. Use the comment box to ask me to explain something that isn't clear.
"This is an involved complex painting, 4 figures. Main light source is the forge its glow on everything. Medium with extra linseed oil good for textures, gooey, sticky paint. 1/2 linseed 1/2 turp with only 1 drop of drier. Medium got sticky because of too much drier, and it sat too long. Paint faster, with more confidence, more direct. Add turp to medium for more detailed work, heads, hands. Limit drier to 2 drops. I need to find ways to speed up while mainting the quality. Raise quality.
Head of the wizard painted up quickly and clearly. Simple blocked in shapes, accurately with broken blending, not too smooth. Blacksmiths assistant head, I tried to paint too smooth. Paint should be wet, fresh enough to blend with, wet into wet, not sticky. Gloves painted with confidence, need same with heads. Skin doesn't need to be smooth. Golem head, because its metal, not flesh, I painted it more directly. Wizards hair, beard wet into wet paint. First blocked in simple values, blotted off excess paint. Most everything is painted wet into wet, as apposed to letting paint dry then adding details over the top. Smoke/steam on the Golem and magic wisps; spread light coat of medium onto dry paint, wipe off excess, used paint with just a little medium, applied very lightly".