After Kogyo, and one of my favorite pieces for Animaruprinto No Hitobito, I was never really satisfied with the background of False Flag. It is a hazard when you work on a background and then decide what goes on it. The new series is much more preconceived with multiple trips to photoshop to figure out what goes where. False Flag is how I used to do things to a t: do a background, flip back and forth between pics to do the render. Anyway, I like this better. It lets the figures breathe and it is finally clearly about a game of cat and chicken.
The Defensive Postures series continues with this rabbit inspired piece. There are four rabbits represented, so I called it Rabbits 4. The wasp nest imagery is symbolic of the series central theme. I’m going to probably work it into future paintings.
It’s time to go out to the Ghost Town again. Start time has been changed to 4pm and will go to eleven.http://www.ghosttownaustin.com
Episode 1 of Austin Abstract Artists Podcast with David Lamplugh check it out!
A new painting in the Defensive Postures series. This one sprung from the picture I was using as a desktop pic since I inadvertently changed it during Honeybear Massacre. I really like the head on the palace guardian lion, and since I used his legs in Honeybear, I figured why not throw in the head. I really like the blue stencil over the city. Have be careful not to overuse it.
I have some new 8×10 prints at Spratx Gallery 501 Pedernales #2a, Austin, Tx. These are pieces from the Animuruprinto No Hitobito series that have been retouched with the new methods I have been perfecting. http://spratx.com
A few words about how I work. I use slow drying acrylics and very thin acrylics made by Golden Acrylics. I have adapted an old masters technique (my understanding of it) to suit these media. First I will do a detailed charcoal(nero) sketch on the aerosol surface. This tends to come up in acrylic washes, so I’ve taken to illustrating a dark and light comic style illustration that will withstand washes. Over this I glaze burnt sienna slow dry. This establishes the middle tone. I reestablish the lights. and darks, blending them in wet on wet. What then stands is a tricolor underpainting. Like the old masters, I will glaze colors over this toned skeleton. this resembles coloring a photograph. Opaque highlights follow, usually with high flow thin acrylics. Pictured is a comic style underdrawing from a new painting. Sometimes they come out nice. This one I might actually redo on the computer to do a silkscreen run.
“Behold for I will come when the time is nie, atop an Italian scooter and bearing a Pocky apon the Earth.”
I’ve always wanted to do a painting of a Markor goat. I had done one in the previous series, but was not happy with it. Meanwhile, I found a painting where I liked the background and not the figure. I scrubbed the adorned equestrian monkey and used some pics I took of a pretty much abandoned motor scooter in the student largesse apartments next door. Seriously, this italian scooter has not moved an inch in a year and a half. It would not shock me if it’s owner moved back to Houston and forgot about it. And Pocky is awesome.