Like many other artists, I was experiencing serious IMC envy last week. I followed the photo streams from Amherst College, Massachusetts that Irene Gallo graciously kept flowing, and there was terrific energy coming from the event even at several removes.
Someone had posted the assignments the students were given this year, and looking through them, I wondered which one I would have picked had I been at the event. Being the sentimental/romantic type, I decided almost directly that I would have gone with Tristan and Isolde. My very next thought was, “Well, why not do it anyway?”. I followed along with several attending students’ blogs, seeing if I could apply the advice they were getting to my own work, and supplementing that with heavy doses of the wisdom of Harvey Dunn (I always keep an aggregated file of his advice to his students nearby me).
This is still in progress, but about 75% complete. There are many unfinished areas – the hands are still just blocked in, the sword and scabbard haven’t been painted, and at the moment I am still busy trying to correct values and color throughout:
I’m doing this with a smallish palette: Burnt Sienna, Yellow Ochre, Ultramarine Blue and Titanium White (there’s a touch of Vermilion red here and there, but I think now that I could have done without it). I can see that I’ve brought the value up too much in places, so I need to darken certain areas again.
After spending the last two weeks painting on cold-press paper, it feels quite different to paint on a panel – I can really do a heavy application of creamy paint without fear of the surface going funny on me, which has been fun.