| The basic part of work above a picture begins for me much prior to the direct beginning of work on a canvas.
It is work of thought when the artistic image of the future picture is considered. I like to write that is really interesting to me and touches deep feelings. Sometimes it is very fleeting and then I take a pencil and start to search, but this time on a paper. At first, it is a plastic of lines, which will conduct a sight on a picture. Further, I think over play of light and a shadow. Dramatic art... (The comparison of painting with music, dance, cinema and other kinds of art is very interesting to me). Simultaneously I think of tone and color, which will be present here. To describe here such concepts as a composition, a rhythm, tone, contrast and others I will not. I will tell only that the investigation of such laws of paintings came with experience and on new deeper level. There is a limit to perfection to that one, who thinks that he has reached everything: Favourite technique is a canvas, oil. Favourite brushes are various ones, depending on a problem, plus spatula. Favourite paints are the limited palette of primary colours plus all the Neapolitan colors and cerulium. I work on a tee: varnish for retouching + pinen + linen oil. Canvas I choose depending on a plot, but the basic favourite sizes are always 60-80, 60-70, 40-50, 40-60, 30-40 sm. - If the picture is thought over, I put at once the sketch by a brush on a canvas, aspiring to reach composite clearness, feeling lines and a rhythm of the main color's mass. - I work only with the big brush. I start with the sky. The sky is not dark blue background, which needs to be painted over quickly, but a condition, energy; it is possibly to say the spirit of a picture. And events and colors, which develop in the sky, should be in harmony with the whole picture. The sky has its own form – it is a dome and it is impossible to forget about it. So that the sky had the depth and realness, it is necessary to know some laws: the bottom of the sky is warmer and not rich on tone and has less contrast, clouds of a less size. Top of the sky is always more rich and cold than a bottom. Clouds have greater sizes and good contrast. The color of the sky can be the miscellaneous, but among the main dark blue I love to use cerulium. I add Neapolitan, especially yellow Neapolitan, because at a mix with dark blue, it does not give expressed green. On it stage I finish the sky, basically, for 80 percent. - I start to work above the average, distant plan of a picture. I try to get in the necessary tone at once, not forgetting that the distant plan always has smaller “Chromaticity”, faint contrast and it is more generalized. Considering air prospect, I put blue, violet and light green tones. Basically, the color can be various, but it is necessary that the contrast should not be strong. - The foreground I try to write with deep, pure, without batch, colors. Here is a lot of details and peculiarities. I work with a thin brush and spatula. The light places I write more densely. Sometimes I work on “tackiness”, creating additional size and the invoice. I unite the most parts of a picture by a wide glazing, especially the distant plan. I finish by local glazing and writing details of the foreground. - I give rest to eyes about some days, working above other thing, and coming back, I make necessary additions. Here, basically, that is all! Though, certainly, it not a strict principle to which I always follow, but only the description of some principles of work, which are always reinterpreted. All your opinions and questions will be interesting to me. Write me! I hope, in the further, to fill up this section, including evident examples of work. I wish you good luck! |
