First Heat: Step 19
The painting is finished. Glazing the overcoat and adding its final details went so quickly that I decided to move on to the face immediately. Because the hairstyle changed so much from the reference photos I took of the model, I found it easier to work on the face and the hair at the same time (something I normally don’t do). I took a big risk with this painting by changing the lighting on the face so dramatically. Not only did the color and intensity of the light change, but the angle of the light as well. This turned out to be an enormous challenge, particularly when combined with the integration of a hairstyle for which the reference material was shot from a different direction in yet another, different set of lighting conditions. I don’t think it is an exaggeration to say that there isn’t a single detail that didn’t get tweaked at least a little. As tricky as it was at times, I am really pleased with the way it turned out. In addition to finishing the figure, there were a few minor touch-ups to the rest of the painting that had to be made, although nothing that would show up in these small digital reproductions.
The images included with this post are the best I could get with the texture and gloss of the paint as it is. This is always more of a problem with darker colors. I ended up having to shoot the pictures in relatively dim light to minimize the glare, which is the reason they are so grainy. As always, I will be taking the piece to a professional photographer who will have the equipment to deal with the tricky paint surface and get very high quality photos. In the next post, I will include a full image of the painting as well as some details, all scanned from the transparency I will get back from the photographer. At that point I will make some final comments on the finished piece as well as answer any questions that have been received in the mean time.
March 10th, 2005 at 10:00 pm
I am greatly excited to see the progress you are making on this fascinating piece of work. Your paintings always capture the human dimension of heroism that usually lacks in individualist art. You always reinforce the idea that such ideals are truly possible in our world, and for that I cannot thank you enough. Also, you could not have chosen a more perfect scene to capture! My heart missed a beat when I first set eyes on “Motive Force” and a tingle shot through me when I saw an early sketch of it. May I ask why you removed Wyatt’s Torch? And may I ask if you have ever considered capturing the moment when Ellis is fleeing his burning oil field? That was a scene I believe Rand should have included.
March 10th, 2005 at 10:00 pm
Bryan,
Thanks for providing these fascinating insights into the makings of your artwork and willingness to accept comments. I’m not an artist by trade but have a brother who is pretty darn good at it….. I suppose my comment is biased from 17 years of indoctrination as a U.S. Marine, but the posture and stance of your character (leaning back against the wall with hands in pockets) strikes me in a negative sense. The honest truth: This “slouching” pose reminds me more of a nonchalant, laid-back, gum-chewing teenager than of a great man of achievement in charge of his surroundings. If a U.S. Marine - from Private to General - was ever found standing like this while in or out of uniform, he would be counseled for unprofessional bearing. With that being said, the more assertive posture of the character in your Sketch #1 struck me as having a much more professional bearing and command presence (these are popular terms with Marines). The first sketch provided me with a much more positive image of the character. As you’re probably already committed to the current character stance, maybe taking the right hand out of the pocket and placing it on his hip, and/or maybe straightening up his posture a bit might help.
Semper Fi.
p.s. I suppose giving him a high and tight haircut might be too much, though.
March 10th, 2005 at 10:00 pm
Bryan,
I sense a tour de force occurring right before our eyes. I appreciate the effort you are putting into establishing the remarkable atmosphere, and as you have commented that your scrap is not that good, your treatment of shadows and the unnatural lighting environment is simply fabulous, in my opinion. The underside of the large beam just to the right of the figure’s nose, and behind the ladle handle - the very bottom of the main beam showing just above the ladle rim, well there is still something a bit off on the perspective, such that it appears that the foreshortening is slightly reversed, that is, the very bottom edge is not leading to the same vanishing point that the other edges seem to be leading. Sorry to be so picky, but you have a true masterpiece here and, like all the A.S. characters, shooting for perfection is, well, worth it for its own sake. I especially love the texture you have created on the side of the ladle fitting, the slab-like side of the mechanism holding the ladle handle. It looks worn and pitted, just like you would expect to see in a gritty steel mill. The glint of shiny steel, the sparks, the smoky bits coming off the floor - all great touches that add to the entire sense of Rearden’s accomplishment. Can’t wait to see the figure emerge. Thanks for the effort it takes to share your progress with all of us ‘visitors.’
March 10th, 2005 at 10:00 pm
Bryan,
I just got back into painting (after 20+ years) and this site and your work has inspired me. I enjoy your information on painting techniques and the materials you use, keep it coming. Quick question, what medium do you use and do you use different mediums based on the technique youre using (base coat, glazing…).
March 14th, 2005 at 1:00 pm
Mark:
I almost exclusively paint with oils. I personally think they provide much deeper, richer colors than do acrylics and they are amazingly versatile. When choosing a technique or a specific oil medium, I consider not only the effect I want to accomplish, but also the longevity of the painting. Base coat colors are chosen for quick drying, flexible pigments and are mixed with as little linseed oil as possible. Oil-rich layers of paint, such as the glazes in this painting, are on top. A good oil priming coat, for example, would contain flake white as opposed to titanium white, burnt umber, ivory black and a little pure turpentine. These pigments dry to form relatively tough, flexible films, and the turpentine thins the paint enough to aid in application without slowing the dry time. The glaze in this painting is a mix of cold pressed linseed oil, burnt umber and ivory black. Pure oil dries very slowly, and can be very difficult to work with. The pigments in this case serve to aid in drying as well as impart a desired color to the glaze. For a colorless glaze, stand oil (linseed oil thickened to the consistency of honey by careful exposure to sunlight) is a safe choice. Another consideration for glazing is that some colors are quite transparent while others are almost totally opaque. Some transparent pigments can also seem to be different colors when used as a glaze than when used as a pure color. A little experimentation will go a long way toward developing a palette that works for you. In general I choose paints with no petroleum driers (which will discolor over the life of the painting) and mixed only in linseed oil (poppy seed oil, walnut oil, etc. dry to form much more brittle films than does linseed). Also, higher quality paints will have a much higher ratio of pigment to oil. Student grade paints and even some popular “professional” brands contain many additives to give them consistent textures and dry times. These additives make the paints a little easier to work with, but will shorten the lifespan of the painting. I recommend ‘Old Holland’ brand oil colors if your budget allows. I also recommend ‘The Artist’s Handbook’ by Ralph Mayer which contains an exhaustive list of pigments and their various properties. Please feel free to write in with any further questions, and good luck with your painting.
Kevin:
One downside to being an artist is that everyone has their own experiences which add a different context to the way they view your art. To me, the pose is correct. I think there is something to be said for being able to relax physically and mentally at the completion of a great task that does not speak to weakness, laziness, or a lack of pride. I realize this view may not be compatible with your own, but perhaps you will still be able to enjoy the painting on some level.
Mark:
Thanks for your comments and I am glad you are enjoying the piece. I put a lot of work into details that I think will add to the painting, and it’s great to know people are noticing. As for the beam, I have had one other comment regarding the perspective, and I have made adjustments such that I am happy with the way it now looks. There are a lot of changing shadows, interfering lines (such as the bottom of the crane) and areas of bright highlight that make it a bit tricky to follow the exact edge of the beam, especially in the grainy photos I have been able to post. I am also pretty picky about perspective, and the beam isn’t bothering me…certainly not to the extent that I think it is detracting from the overall effect of the painting.
Joey:
I removed the burning oil fields from ‘Motive Force’ for several reasons. The biggest reason is that without the context of the story, a burning oil field is not a positive image. This composition began as a cover illustration idea for the book, which would have provided that context. As a stand-alone piece of artwork, however, the theme needs to be accessible to viewers who have not read Atlas Shrugged. I too really like the character of Ellis Wyatt, but for the same reason I think a painting featuring his oil fields on fire would be very difficult to pull off without a lot of negative implications.
As always, thank you all for taking the time to send in your questions and comments.