Yesterday's High Noon painting was a bit lacking in colour for one of my creations,…
Moose On The Phoenix Trail
Reading that George Blacklock book during the week I started to think about how artists like Dali, Mageitte and Blacklock himself have common theme shapes that they like to keep coming back to. Ā I’ve been thinking this week about what sort of shape I could simplify and start incorporating into a series of abstracts. Ā I had quite a few ideas. Ā There’s the iconic shot from Once Upon A Time In The West that I’ve already painted. Ā Maybe there are other Western shots I could use. Ā Or there’s the world of music. Ā A nice Jimi Hendrix pose. Ā Or the cover of Aladdin Sane by David Bowie. Ā The word iconic keeps coming bit mind.
In the end I went for this moose (photo credit: Cathy Stone):
So what Ā attracted me to this moose? Ā Well…
– It’sĀ an interesting shape
– It has a childlike simplicity to it, like one of those prehistoric men sculpted out on the side of chalky hills
– I like how most of it is a single line, with just the small unconnected triangle for contrast
– I like how the edge of the plinth looks like it could be an exaggerated round bottom
– It’s easy to draw freehand
– It has the potential to be iconic
The moose itself is a sculpture on top of a telegraph pole somewhere in Buckinghamshire next to the Phoenix Trail, a national cycle path. Ā There are other sculpted mooses in different poses that I may turn to at some point in the future but this feels like one to keep using again and again.
Anyway, on to the painting. Ā I started by spattering on masking fluid. Ā Once this was dry, I wet the paper and put on a fairly random underpainting using Prussian blue, quinacridone magenta and transparent yellow – the classic triadic left colour key. Ā I tried to put in some complementary contrasts with red adjacent to green, yellow to violet and blue to orange. Ā But of course, these tended to blur together into neutrals rather than standing next door to each other and not mixing. Ā Duh!
As the underpainting dried, I sprinkled on salt. Ā I was really careful with this today, adding salt just as the paint was losing its shine. Ā And, because the paint was drying at different rates, I was adding the salt to different places at different times rather than throwing it all on at once. Ā The result is that the salt has worked all over theĀ painting. Ā After a long wait, I rubbed off all the masking fluid to reveal the starry background. Ā Interestingly, there was hardly any salt to rub off – maybe that’s another indicator that I was using the salt properly.Ā
Next I spattered on some opaques: cadmium red, cadmium yellow and cerulean blue. Ā Maybe the cerulean was a mistake – it’s not come through as brightly as the red and the yellow.
And then finally I painted on the moose. Ā I tried drawing on a rough pencil outline but this was too hard to see, so I painted it freehand instead, in titanium white. Ā It was four or five coats of white that I applied in the end. Ā In one of the earlier coats, I dropped in the threeĀ opaque primaries in different places but this didn’t really work – white’s not a great mixer. Ā But after the last couple of white coats, there’s a tiny hint of blue or pink to the line which I quite like.
And what I’ve ended up with is a decent painting. Ā The underpainting, the salt, the spattering and the moose all seem to complement each other. Ā And there’s a happy accident in there in how the salt marks on the face look like eyes. Ā Although I’m left with a slight feeling of guilt about this all being too easy. Ā Anyway, the moose is up for sale.
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