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Post #1207 • July 10, 2008, 3:33 PM • 19 Comments
Soap and Begonia, Salt, Pepper, Violet.
2.
July 11, 2008, 5:37 AM
salt, pepper, violet has beautiful light and color. I also like how the form awkwardly floats. Keep doing and posting these.
3.
July 11, 2008, 8:45 AM
We should have studio space available in the Lady Zog (the painting studios upstairs from the NESW, above Common Sense) for you, Franklin, for as long as you want to stay in E-town, and we can set your show's end date to pretty much whatever works for you and your travel itinerary, so give us an email if you can let us know what you think...
4.
July 11, 2008, 8:50 AM
Will do, MC. Thank you.
5.
July 11, 2008, 9:30 AM
I have an overwhelming impulse to go into these with a very fine brush pen and add some sharp, fiddly detail. There's not enough tension.
6.
July 11, 2008, 10:07 AM
I have a suspicion that in the flesh some of the various areas of opaqueness might embody some of that contrast you're craving J-simpLO. Maybe. I kinda like the lack of overt finer detail. Colour has to do more and shape and edge becomes more critical. Second one is my pick too.
Of course these would also look good at 59" x 71".
I jest, Opie. The reaction against your suggestions before I found kinda interesting. Color wants to spread (and it's damn nice color, so let's have more dammit!), so you said try it bigger. Go figure. At that scale, there'd be no lack of tension, J.
7.
July 11, 2008, 10:08 AM
Er, I meant Pretty Lady. oops. sorry.
8.
July 11, 2008, 12:09 PM
Franklin, I was just thinking that maybe the artblog banner might benefit from some of this lovely chroma?
9.
July 11, 2008, 12:10 PM
You know, more Franklin on the road with color, less apocalyptic ramen noodle...
10.
July 11, 2008, 1:33 PM
Color is excellent. You may need a sharp edge or two. Try an occasional stencil
11.
July 11, 2008, 5:46 PM
I played with liquid frisket a couple times.
Seems nice to use...
Grumbacher Miskit™ is tinted
12.
July 11, 2008, 8:19 PM
Letting it dry a little better might get a stronger edge in there. Liquid mask is a decent idea too.
apocalyptic ramen noodle
You're welcome here any time, Dude.
13.
July 12, 2008, 6:27 AM
Liquid frisket strikes me as cheating. In watercolors, anyway. As an airbrush artist I spent a lot of time on friskets, almost none of it worthwhile -- but that's beside the point. In watercolor with brush, I'm thinking liquid frisket is sort of antithetical to the medium. Part of the charm of watercolor is that is wanders where it will.
Of course I'm not that strongly in favor (or not) of anything in painting, so do whatever works.
14.
July 12, 2008, 7:48 AM
Frisket works so well at times it does
seem like cheating. It definitely
crossed my mind.
Masking tape isnt cheating
brushes and fingers arent cheating
Isn't it all about the image one wants?
15.
July 12, 2008, 8:34 AM
Begonia is a little too soupy, especially the green leaves, which also seem a tad messy. Salt & Pepper works better.
16.
July 12, 2008, 10:30 AM
I remember the tinted
liquid can also look good
by itself on paper...
17.
July 13, 2008, 9:20 AM
Working within a confine offers a good structure for the flow of paint.
I agree to go larger and see what happens with form.
18.
July 13, 2008, 11:03 AM
They even look a little too sloppy to me this morning. Sigh.
19.
July 13, 2008, 12:04 PM
I like the greens in your first painting a lot, Franklin.
As for frisket, I've only used it once or twice back in the 80s and found it sticky, tedious, and weird, so I now prefer to just "paint around" anything I want to remain white...and if I screw that up and can't tamp it up well enough (or if I'm too late for that), I'll use a bit of white ink or white acrylic, depending on what's handy.
Here are a few examples of me just leaving the paper alone for the highlights and white areas:
http://www.kebapi.com/aw25.htm
http://www.kebapi.com/kath.htm
http://www.kebapi.com/steamy.htm
(there's a bit of white ink in the label of the Steamwhistle bottle)
1.
Chris Rywalt
July 10, 2008, 7:20 PM
First over second. Clearer and yet less clear -- the outlined salt shakers stand out too much too me.
I like how wildly abstract these are -- the total lack of detail -- and yet how very specific they are. Someone -- OP? -- said in an earlier thread that Matisse's paintings came out of very close observation, and these two, and the last two, seem to come from the same place.