oil on paper, 18 x 30. 2008.But for now, it's for a book. About a person. For, like, a company.
A company that publishes books. When it's done, and furthermore when it reaches shelves, I'll be happy to give the author and I a big, loud, virtual pat on the back, with maybe a chest pound and a "hey look at me look at me look at me."
But for now, I'll be vague.
6 comments:
Ooooh, it's beautiful! I'll guess... Amelia Earhart! She's got those speed-demon goggles on- and it looks like maybe a copper is chasing her down on a bicycle... Can't wait to see it!
I also love your leaf men from the previous post. Reminds me of a painted tree branch I once gave to my mother as a present, which I fancied looked like a parrot. No one else saw it, and had a hearty chuckle at my artistic expense. I'm surprised I made it to a life of creativity after that!
Oh, those parrot blind pedestrians... I guess creative angst has to originate somewhere.
But nope, not Amelia, though she'd be fun too; one of history's great feminist girlie girls (I read that she always adjusted her makeup before exiting the cockpit, a detail I really just love).
Wowser, mister.
I bet it smells divine... makes me want to pick up a brush again. :-)
Beautiful job, Adam; I'm intrigued!
Love seeing such fine traditional illustration.
How many hours of work goes into a painting like this Adam?
It oozes quality, you talented thing :o)
Thanks, gang. :)
I've been trying to keep better track of how long I spend on one of these guys, but at some point I always drop the proverbial ball. I usually average about four sittings for something like this; the first can be around six hours, getting all the local color and most telling details blocked in, and the overall harmony in place.
From there, I overlap my sittings with other pieces, spending an hour here and there scumbling and glazing in more values. I take a lot of coffee breaks.
The longest and most unpredictable stretch is the "finishing." Getting all the dabs just right, putting highlights on the highlights and shadows in the shadows, and making sure everything really sits in the same world and that the paint itself is interesting.
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