Friday, August 21, 2015

Your Guide to the Mural-Painting Method (Part 2)

As the second mural of the Saskatchewan Government Employees' Union (SGEU) commission comes swiftly to fruition -as promised- I will take a pause for the cause and post some more pictures of the "work-in-progress". Sometimes it's a challenge to keep up with myself, as once I get painting, I have to make a conscious effort to stop long enough to photograph my progress! You will recall that the last picture(s) in my previous post showed the addition of a translucent "violet" glaze. After this, it was time to add the "translucent blue" glaze.

The shadowy bits really start to sing with the addition of a "blue glaze".
With the addition of each successive glaze -in this case blue- the image increasingly "pops".

When contrasted with the previous pictures (sans blue) you can see the amplification of the detail.
It's always exciting to watch the images clarify with each new glaze. Not only does each step add appreciable detail, but also beefs up the contrast...which of course is fundamental to the process.

The shapes and forms take on a more vivid appearance...
I decide to "pan" across the surface of the mural so you could see how the "global" approach to glazing...persisting in completing each successive treatment from left to right, and from up to down, before moving on to the next glaze. This approach creates a dynamic uniformity; put another way, visual continuity.

A sweeping view of the mural: 6' high (plus the extensions) x 24 running feet.

Remember, there is absolutely NO white aka light as of yet. The background hue -a warm golden orange- is standing by as the neutral base. It is only after all of the "tonal study" is completed that white is introduced for the first time.

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