This started out as a plan for a drawing. But it quickly became so complex and detailed that I decided it would make a good painting.
Problem is I drew almost up to the very boundary lines that delineated the 16"x20" rectangle. I contemplated starting all over again, this time with a bigger canvass but with the same proportions.
Then I remembered gallery canvass. It is not designed to be framed, so you can paint right up to the edges. The sides are about two inches deep. It projects from the wall. I've never used it before, I love the finished edges of a nice frame, but for this piece I'll try using it. One problem, I don't know if it will sit on my table top easel since the bar across the bottom is rather narrow. I can't think of anything more horrific than a wet canvass toppling forward and ending up face down in the floor. My husband may have to modify my easel to support the canvass. I need to paint with it upright and facing me. And I like working on a table. All my supplies are laying about on the table. The table has a ring of lights in the ceiling and it faces a window.
Why do I draw right up to the edges? I can't help myself, even though I draw a border that is supposed to represent the overlap of the frame.
One of the problems with gallery canvass is that it isn't available in portrait grade, where the cloth is tightly woven and makes a smooth smooth surface. I find that board is a little too smooth and paint quickly makes ridges that I don't like much. Board is so unforgiving. Cloth seems to soak up the paint.
I'm too close to this drawing because I've been working on it every day for more than a week now. Have to step back and try to detach from the drawing. I'm so ravenous for it that I wish to start painting it immediately. Tomorrow.
Impossible.
With time I may be able to redraw the entire composition in a larger size, but don't have the heart at the moment to turn my back on over a weeks worth of work.
I do get attached to what I make. This picture in particular excites me. All I can think of is all the fun I will have painting it. And I'm dying, dying to see the colorful end product. Lines made with pencil can't compare to the glory of color blocked in, subtly shaded in.
This drawing is NOT an end product. It is merely a suggestion of better things to come.
Dear Karen,
ReplyDeleteIt's been about a week since you posted about this drawing that is soon to become a painting. Has the distance given you a clearer perspective? I do like it very much and am curious about what color scheme you will use. The lion with the head of the child in its mouth and the other gut pierced child by the unicorn to me are both disturbing and playfully funny. There's a leaping, dancing quality to the image. There's pain but there's a lot of joy too.
It's as if you are making an adult response to the fairy tales of children. As if you're saying everything isn't always "And they lived happily ever after..." Some of the happily-ever-after is there, but so is death and destruction. Have you ever thought of illustrating a fairytale accentuating the dark aspects of it (Little Red Riding Hood & the wolf?) or have I said that all ready? And what happened to The Adoration of the Magi idea that got you excited a while back?
Your painting and drawings seem meant to tell some specific story. That's why I think you were drawn the The Adoration because it's a story rich with symbolism. It would be ambitious to paint The Adoration, but I think you could definitely do it. Fairy tales or religious stories could easily work as a series or a triptych. Or you could write your own fairy tale and illustrate it? I don't know, when I look at your work I have the desire to see it in a beautiful large book or in a well lighted room or rooms. That and I get ideas which for me doubles my pleasure in your work.
I just wanted to say, thanks so much for the Holiday card you sent to me! You are very good to me Karen.
Happy Painting!
Love Always, Kate : )