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By the Fountain: Step 3

By the Fountain

Painting the concrete went really fast, much faster than I thought it would. I have painted a fair amount of concrete, and am pretty confident in the basic process, but there were a few added twists this time. The most notable: the wet areas that have been splashed on by the fountain and the slight reflections of the feet in those areas. It turned out to be as straight forward as possible. I began blocking in the base colors, moving from back to front in the picture frame. As is my usual practice, I was intending to put down one coat, let it dry, and then cover it with a second layer of paint to add the details. As I worked, however, I noticed that I was able to get a relatively finished look in one pass by using thicker paint and modulating the color slightly as I went along. By the time I reached the foreground concrete, the new technique was basically perfected, and much to my surprise, it worked extraordinarily well for the wet-cement effects, including the reflections. I finished so quickly, in fact, that I decided to begin experimenting with the fountain itself, flowing water being another effect I have almost no experience painting.

Incidentally, you have probably noticed that I am employing my more standard practice of painting the background first with this piece. This is mostly due to the fact that there is so much more detail in the background and so much uncharted territory to be covered than in the last figure painting. Any wiping off of paint and re-working that may be necessary will be much easier if I am not concerned about messing up a painted figure, and I think that in the end this will speed up the whole painting.

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About Bryan Larsen ~

Bryan Larsen

"I was born on February 12, 1975, and have been drawing as long as I can remember. By the time I was in high school, I knew I wanted to be an artist, although at the time I didn't have a clear idea of how exactly I would use my talents to make a living.

"As I continued studying art, I began to suspect that fine visual art was dead. No one seemed interested in teaching students how to draw well, or paint well. More often than not, my own skills exceeded those of my instructors.

"The only field left that seemed to require good drawing, painting, and compositional skills was illustration, and therefore I began studying illustration at Utah State University in Logan, Utah. I became even more convinced that I had made the right decision in staying away from fine art as I endured course after course of required "drawing" and "painting" classes in which instructors required me to draw with "less focus", or use ridiculous materials such as shellac, glue, sand, salt, etc.

"My second year at Utah State, I met Damon Denys. In discussing Art with him I realized that there were other people who believed that technique and subject matter were indispensable components of any work of art. I then decided that I would work to develop my own painting skills with the purpose of creating artwork that I considered worthy of being called Fine Art.

"Since that time, I have studied on my own: Drawing from live models to learn the human form, studying proper painting techniques from any source I could find ample reason to trust, and developing a philosophy of Art based on reason, and life on earth.

"My goal is to portray the heroic and romantic in human nature and human achievement in a realistic style and a modern setting. I place particular emphasis on composition, technique, realistic detail, proper craftsmanship and consistency of style."