I’m processing the video I shot and will have it ready for you sometime tomorrow, Saturday the 19th. Many of you wrote to me saying that you would prefer this painting shown in longer/fewer episodes. I understand that, and can appreciate the desire to see the painting finished sooner than later so that the flow isn’t so interrupted. Thanks for your input. This time it’s a 39 minute episode, but the following week, I am going to shoot longer episodes. I will send out hour long segments to you, but more frequently.
As for showing my palette, I know that there are ways to do that and am looking into it. I’ll need an additional camera, which means additional stands or tripods to hold it, which means more space and the time to upload more video. If I can do this within reason, I’ll give it a try. I am also familiar with artists who have, what seems like, a video production studio set up in their studios. That’s a great thing! Unfortunately, I don’t have the space to do that, but will see what I can do. Videoing the smaller paintings on my tripod easel using my OpenBoxM, like I’ve done a couple of times, works to show all of the mixing. But it is only feasible to do that with a smaller painting. I wanted to show you the process, like in this demo, while painting a little larger painting. This is where the problem of space to film comes in, trying to show the palette, etc..
Book for the week:
The Yin/Yang of Painting: A Contemporary Master Reveals the Secrets of Painting Found in Ancient Chinese Philosophy Paperback – October 1, 2000
by Hongnian Zhang (Author), Lois Woolley (Author)
I ran across this book in a Barnes & Noble bookstore (remember book stores?) around the time it was first published and thought it looked interesting. It took me a year or so to really dig into it, and that I did. Maybe the most valuable information in the book are where he illustrates his value family studies for larger compositions. They are marvelous and show how critical it is to have a value structure in a painting that has a purpose in the design of the composition. I study these things anytime I think to get the book off of the shelf and open it up. Also very valuable is his discussion about his color palettes and how he uses them in paintings. Admittedly, I am not the biggest fan of all of his larger paintings, but the lessons are invaluable. I highly recommend it if you don’t have it, and can find one. They’re out of print but in the link to the book above, Abe Books can get you a used one.
Ok, I hope you have a great Friday! Keep those brushes wet and expect another email tomorrow with the new episode of the 24x20 acrylic painting in it.
Cheers,
Marc