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Precision: Step 2

Right, so down to business. I’m cooking a lentil dish as I write this, so pardon me if I seem a little distracted. I’m making it with garam masala and spicy garlic pepper sauce and lime juice. It’s something I’m inventing as I go along, so let’s all take a moment of silence and wish for a big success.

Precision

Precision

Okay, I think that’s long enough. Thank you for your kindness.

First off, it won’t do at all if we just leave the sky unpainted now will it? I’m building the color scheme for this painting around the color blue, which is both calm and optimistic, both of which are qualities that I think work well with the subject’s theme, “precision”. So naturally, the sky must be blue. And because I like to paint a painting’s various elements from far to near, and because the sky is the furthest thing in the painting away from the viewer’s perspective, it logically must come first.

I’m also planning to put in some rusty red colored tiles on the ground in the other corner, so with color balance in mind I’m going to get some red into the quarter of the painting that hosts the cityscape and sky. I’m not sure I like the idea of bright red skyscrapers (perhaps just because I’ve never seen one), so the red will have to be worked into the sky.

A blue sky with red in it? Are you mad? That’s it, I’m not reading any more of this insane person’s little painting blog thingy!

Whoa whoa, now. Keep your shirt on, pal. The fact is that I’m already planning to have the sun low in the sky so I can put a nice interesting color fade on the central skyscraper, which means I can easily place some low-lying reddish-orange clouds in there, which are the first victims of an impending sunset. You see? No problem. And to give the reddish clouds a little more of a logical place in the sky, I’m also including some of their friends, floating higher in the sky, which contain a slight amount of reddish warmth closer to the bottom, and none at all at the top. A nice easy transition.

Well, it’s time for those lentils, so I’d better get going for now. Sorry to rush off, and we’ll see you all next time around. I’m sure the lentils will be delightful.

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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."