Thursday, October 25, 2012

Triptych, Step 3



This is the third installment on the triptych I’m producing for Light of Christ Anglican Church. You can find the first two installments on this blog or by clicking on the hyperlinks below.
To the left, you can see photos of the various stages of my most recent progress. You can also scroll down to find a video that documents the changes step-by-step.


Installment two ended halfway through the underdrawing of the center panel. As you can see, I have since finished out the underdrawing. In specific, I added the wall of Jerusalem; shaded the figures; included cherubim above the cross; added the initials of each figure; wrote the text for "Jesus of Nazareth King of the Jews" on the headboard; and added the Greek for crucifixion above the cross.


After finishing out the underdrawing, I moved into the underpainting. This underpainting consists of a series of acrylic washings. The first wash was a simple yellow ochre over the entire piece. I followed this with a series of washes, using various combinations of yellow ochre and burnt umber, that added value to the surrounding objects.


The final stage was the initial application of gold leaf to the halos of the Theotokos, Jesus, and John. In this first application, I used acrylic gold paint. In the final stages, I will cover this with gold leaf. 

In my next installment, I will move into oil paint. So, be watching for more.


Wednesday, October 17, 2012

Dürer Study

I've been asked to produce an engraving for an upcoming academic volume. In preparation for the work, I've been doing two things (in addition to purchasing the necessary tools, of course). First, I've been practicing drawing (or more accurately, carving) on a copper plate - something I haven't done since college. Second, I have been studying the prints of Albrecht Dürer. 

I spent yesterday reproducing one of his woodcuts line-for-line in ink. The experiment was a master lesson in drawing, to say the least. The results (with which I'm quite pleased) can be seen to the left (click to enlarge).

The study was of enough benefit to me that I plan to work on several more Dürer reproductions in the future, learning as much from him as I can. My hope is to work toward reproducing some of his prints in the proper format, vis-a-vis, engravings or woodcuts. JBU, to my delight, has an art professor (Bob Martin) who has expertise in printmaking. He has agreed to help coach me through the monograph etching. I expect he'll be a wealth of information as I study Durer as well.