Friday, June 15, 2012

Living in an Orange World

My computer-generated rendering that demonstrates approximately how the finished mural will appear.
 I guess delayed gratification is a fact of life when glazing a mural of this scale. I will not switch to my next glaze color (that would be red) until the preliminary orange glaze is pretty much finished on the first big chunk of the 'forever YOUNG' mural. According to my painting methodology, which has been honed over about 30 years of creating large-scale murals and hundreds of easel paintings, the specific order of glazes is something not to be trifled with. I know  the rich full-spectrum glazing  technique gets the best results, and a big part of this depends on exercising the self-discipline to stick with the program and not be overly hasty to arrive at the finishing or 'native' colors.

When applied judiciously, the so-called 'full-spectrum glazing  technique' results in a very warm, inviting continuity that offers brilliant 'back-lit' flesh tones that appear to glow from within; as well, deep rich shadows that feature mesmerizing variety and nuanced visual depth that is extremely satisfying to the eye.

More important, the 'full-spectrum glazing  technique' offers an opportunity to the 'mind's eye' to explore the artistic vision far beyond the mere representational imagery. The technique becomes part and parcel of the holistic visual and aesthetic experience. You can imagine that this is especially true in a work of this scale.

Let there be light!

I'm living in an orange world, overlaid on a golden field...

I realized that working off a step ladder would be quicker on the lower portion than moving the scaffold across the wall. It's a long way to go with a scaffold in tow.

Now you can plainly see there is another eight feet of height yet to go. Before this happens, the top twelve by eighty feet will be pretty much finished. Can you imagine what this will look like with another 10-12 glazes? I can!

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