What did the Hulk look like as a kid? ….now we know. Acrylic on canvas, 12 x 12″ Short, sweet, and a fun thing to paint.
<a href=”http://fineartamerica.com/art/all/corvette/all” style=”font: 10pt arial; text-decoration: underline;”>corvette art</a>
Painting on a larger canvas has its advantages- one is not having to use a magnifying glass to paint nostrils or pupils or the little things in ears. An advantage of painting a small work is that a little color makes a big impact. I used the red to set off all that blue on the figures and in the background. The red is the amazing Gamblin Cadmium Red Light- one of the colors I no longer can do without. Mr. Sinister and Apocalypse, 11 x 14 oil on canvas.
This monochrome painting came out a little too “mono”. The pthalo blue and white worked for about everything, but a little more contrast did the trick- pthalo turquoise behind the figure made it stand out. Other than that, blue is a great color for a monochromatic work. You can tint (add white) or tone (add black) to make several values of color. Good idea to start with a value scale, mix the colors and go from there. Silver Surfer, 11 x 14″ oil on canvas.
<a href=”http://fineartamerica.com/art/all/beach+art/all” style=”font: 10pt arial; text-decoration: underline;”>beach art art</a>
Painting two or more paintings together? Just line them up and sketch/paint together to make sure the backgrounds match. Even if they are not displayed together this will visually connect the works. Two more comic works in oil, these are smaller, 11 x 14 each. My version of Mystique and Apocalypse from two different covers. Yellow ochre in the background sets off the Pthalo blue on Mystique and the Manganese blue on Apocalypse. Love the Gamblin Fastmatte paint!!Dries in about a day and you can mix with regular oils. 11 x 14″ each, oil on canvas.
comic art art
It’s late Friday afternoon, big 3 day weekend ahead, and I left nothing on the table! I mean the easel. Here are the three paintings I have been working on, and think they are finally ready to escape from the studio. The Batman, well, really happy with this one. The island painting saw a surfer get painted in, then painted back out. Let me know what you think- should there be a person in this scene? Last, the abstract wave on paper. I have heeded the advice “don’t fear the bold highlight”. Especially in acrylic, that will make things happen for you. Tip of the week, if you are going to have refreshments in your art area, make sure your paint thinner isn’t near and /or in the same size cup as your iced tea. See photo and don’t drink your paint water by accident.
Hope you got your free comics on Saturday! So much excitement, then May 4th, today the Spiderman movie. So…at a recent comic con I met Ethan Van Sciver, gifted comic artist. Green Lantern Rebirth has art that took my breath away. I handed Ethan my hardback copy and asked if he would sign it— here is a picture of what he did, now in a very treasured place in my collection!!
Here are three paintings that I have in the works now. Working in oils on the Batman cover means I can only work on this about one day out of seven. Not letting the layers dry can mean bad cracks a few years down the line. Meanwhile here are two others I started. More as I develop them next week.
I sold a painting to a surfer today! how cool is that! this one:
<a href=”http://fineartamerica.com/art/all/surf+art/all” style=”font: 10pt arial; text-decoration: underline;”>surf art art</a>
One of my art teachers said “Invariably, you find the most complicated thing to draw”, meaning that I won’t find the simple things and work my way up. This results in some frustration, as drawing someone standing, head on, or in full profile from eye level is much simpler and faster than figuring out all the resizing. For example, in drawing a face, the subject’s relaxed hand should be about enough, palm to fingertips, to go from chin to forehead. For a man, the shoulders should be about 3 heads wide. And so on. Use an extreme high or low POV and all things change. Hands become huge when they are near the viewer, body proportions change dramatically.
I loved this Superior Spiderman cover so much I could not stop looking at it, so I painted one. This is an acrylic painting 24 x 36″. I used the AMAZING Liquitex glaze– great oil paint effect.
Blank Variant Covers- I love them for the possibilities, I wish that the comic industry would go ahead and use some Bristol Vellum or some Heavy Watercolor paper instead of the hard paper stock. Well, you can’t have everything (where would you put it?). Working in the 7″ x 10″ space is a challenge too, and with inking, well, you get one shot. The cover is attached to the comic, so you can’t start over.
Eric, the comic store owner generously and fearlessly handed this one over to me. Surprise, he is getting it back with a front pencil and a back acrylic, India Ink and watercolor wash. Thanks for trusting me!
What works on a Variant Cover:
– Pitt Pens (awesome!)
– Gouache (I think it’s pronounces “gwash”)
What you may want to avoid:
– Copic (bleeds through)
– Alcohol based marker
– Sharpie (really bleeds. a lot)
Okay back to some fun stuff. Although this is after all classical art, it has the figure, foreshortening, composition, and a thought for the medium (acrylic paint on watercolor paper) and the delivery–it’s really big. Life size actually, assuming Wade is really about 6’1″.
Blank Variant Covers- how great are these. This is a pencil drawing of Spidey catching a ride on the Hulk. I am crazy about Mitsubishi Uni Pencils, I used a HB and a 7B and they spread like buttah!