my blog
- $lmjimy311
- Taiyed Brodel
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Re: my blog
i just liked the images on the left side a little bit more. seems pretty political
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- See the good in everybody
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Re: my blog
i bet alot of those people smelled terrible
Re: my blog
I mean it smelled like a bunch of hippies
Re: my blog
that security guard is gettin laid tonightpoolio wrote:
- Jordan311
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Re: my blog
Shiny wrote:that security guard is gettin laid tonightpoolio wrote:
bwahahah shiny youre crackin me up tonite
and POOLIO. ANSWER MY QUESTIONS AT THE END OF THE PREVIOUS PAGE!!!
Later
Re: my blog
Here's a newer version of it.
In regards to what Jimmy was saying, I find it interesting that you seem to derive a political theme from the imagery even though most of my work is fairly devoid of any kind of personal narrative. The figures are basically empty still life vessels and become a part of the compositional harmony, but I try my best to remove any hierarchy in terms of the figures being set at center stage. The ladder, the hobby horse, the veiled figures all play an equal role.
An Jordan, I prime the canvas with acrylic based gesso fifteen times alternating vertically to horizontally with each layer and sand in between each layer. Priming and sanding this many times allows the primer to flatten out the tooth of the surface, and after the fifteenth coat, its usually a smooth, glassy surface. Then, I establish a grey border using my paint very sparingly. I keep in mind that I want the image on the left to have warm attributes and the one on the right to have a cooler palette, and so I make sure that I dry brush/scumble(a technique using basically nothing but paint brush residue where you saturate the brush with color, and remove as much as you possibly can from the brush, it makes a hazy mark) and I color hazily warm(burnt sienna) into the border of the cooler colored image on the right, making sure that it gradually fades out to the edge, and color a hazy cool (french ultramarine blue) color on the outside on the image on the left that uses mostly warm colors inside so it makes both images pop. And then I render everything inside each rectangular shape, starting with the large shapes and working into the small shapes. Usually best to draw with charcoal, some people prefer to do what is called an under-painting which is drawing with diluted paint directly on canvas. I like to use charcoal because an underpainting is visually confusing and the blackness of the charcoal allows for a clear separation. Once the two main images are laid in, I reference them in reverse, scumbling into the grey border, a reverse image on all sides, and it creates the mirrored effect that you see. I take hundreds of reference photos and create preliminary drawing and a use the best compositions and implement them into my initial drafting of the painting, then I make what I consider easier color decisions. When I set up my models in spaces in real life, I use colored ceramic theatrical lighting in order to transform my spaces into something new, somewhere otherworldly, the figures are catalysts for viewers to project themselves onto.
- Jordan311
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Re: my blog
poolio wrote:
Here's a newer version of it.
In regards to what Jimmy was saying, I find it interesting that you seem to derive a political theme from the imagery even though most of my work is fairly devoid of any kind of personal narrative. The figures are basically empty still life vessels and become a part of the compositional harmony, but I try my best to remove any hierarchy in terms of the figures being set at center stage. The ladder, the hobby horse, the veiled figures all play an equal role.
An Jordan, I prime the canvas with acrylic based gesso fifteen times alternating vertically to horizontally with each layer and sand in between each layer. Priming and sanding this many times allows the primer to flatten out the tooth of the surface, and after the fifteenth coat, its usually a smooth, glassy surface. Then, I establish a grey border using my paint very sparingly. I keep in mind that I want the image on the left to have warm attributes and the one on the right to have a cooler palette, and so I make sure that I dry brush/scumble(a technique using basically nothing but paint brush residue where you saturate the brush with color, and remove as much as you possibly can from the brush, it makes a hazy mark) and I color hazily warm(burnt sienna) into the border of the cooler colored image on the right, making sure that it gradually fades out to the edge, and color a hazy cool (french ultramarine blue) color on the outside on the image on the left that uses mostly warm colors inside so it makes both images pop. And then I render everything inside each rectangular shape, starting with the large shapes and working into the small shapes. Usually best to draw with charcoal, some people prefer to do what is called an under-painting which is drawing with diluted paint directly on canvas. I like to use charcoal because an underpainting is visually confusing and the blackness of the charcoal allows for a clear separation. Once the two main images are laid in, I reference them in reverse, scumbling into the grey border, a reverse image on all sides, and it creates the mirrored effect that you see. I take hundreds of reference photos and create preliminary drawing and a use the best compositions and implement them into my initial drafting of the painting, then I make what I consider easier color decisions. When I set up my models in spaces in real life, I use colored ceramic theatrical lighting in order to transform my spaces into something new, somewhere otherworldly, the figures are catalysts for viewers to project themselves onto.
Ok, I'm glad there isnt any political meaning, because to be honest I didn't see it at all and was a bit confused by jimy's interpretation of that.
and holy shit dude. That's a hell of a process. I'm even more impressed now. I had a feeling that you set up the models/still life and then painted from that. I never thought about taking so many reference photos and using all the best attributes of those. I'm always impressed by your work man, keep it coming.
Later
- greenmonkey911
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- Jordan311
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Re: my blog
greenmonkey911 wrote:poolio, do you have a website?
/facepalm
You mean like.... the one on the first page/post of this topic?
Later
- greenmonkey911
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Re: my blog
Jordan311 wrote:greenmonkey911 wrote:poolio, do you have a website?
/facepalm
You mean like.... the one on the first page/post of this topic?
Later
Re: my blog
woah, reading your process for creating those pics was inspiring, you have a real passion and technique, that is so impressive
- Jordan311
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Re: my blog
I came.311Baybee wrote:woah, reading your process for creating those pics was inspiring, you have a real passion and technique, that is so impressive
Later
- $lmjimy311
- Taiyed Brodel
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Re: my blog
poolio wrote:
Here's a newer version of it.
In regards to what Jimmy was saying, I find it interesting that you seem to derive a political theme from the imagery even though most of my work is fairly devoid of any kind of personal narrative. The figures are basically empty still life vessels and become a part of the compositional harmony, but I try my best to remove any hierarchy in terms of the figures being set at center stage. The ladder, the hobby horse, the veiled figures all play an equal role.
whoops, misinterpretation. I saw the guy on the chair with his arms behind his back and a tshirt over his head and instantly thought torture, and how everyone shown has either a mask or something covering their face and thought the facelessness of war and such. but i guess i was wrong, kind of like how the latest episode of southpark talked about how books have all this meaning and sometimes the author didnt intend it and people are just looking too deep into it
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- Jordan311
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Re: my blog
$lmjimy311 wrote: whoops, misinterpretation. I saw the guy on the chair with his arms behind his back and a tshirt over his head and instantly thought torture, and how everyone shown has either a mask or something covering their face and thought the facelessness of war and such. but i guess i was wrong, kind of like how the latest episode of southpark talked about how books have all this meaning and sometimes the author didnt intend it and people are just looking too deep into it
way to be a fucking terrorist, jimy.
christ.
Later
Re: my blog
I've suspected since the 6th gradeJordan311 wrote:
way to be a fucking terrorist, jimy.
Later
I have a file on him. Found blueprints in his father's hotel and I'm still unsure if they're building plans...
OR BOMB FACTORIES.
- $lmjimy311
- Taiyed Brodel
- Posts: 14457
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Re: my blog
you sneaky son of a bitch, thats why you always came over...and to think...we fed you TRAITOR!
TB>BB
Re: my blog
Here's a mural I just completed with my partner from a community based murals course. We worked with this site that offers cheap housing for teachers and office space for nine different non-profit organizations. I'm really excited about the completion of this project because this is the most involved I've been with a community in the art making process. It was an excellent experience, and the objective was to find the best way to represent these different groups without using any individual logos. The groups include different after school programs for kids including one that works with introducing film making and photography to children who wouldn't normally be able to have resources to learn about it, educational groups, Catholic charity organization that focuses on international adoption, Urban debate league, and a few others. But it really was awesome, and probably the most exciting thing I've done in college. Getting involved and hearing the community voice their opinion in the midst of the art making process really opens up some really interesting dialogue and perspectives, that otherwise, I wouldn't experience in the academic environment. We even had an instance when we were trying to figure out how to portray the adoption agency without using a cross that was in their logo. We had the image approved through the property manager, and he like the idea of using two hands to represent parents, and two small hands to represent a child. We had to be very sensitive with the complexion of the hands and tried to be as nondescript as possible in order to not bring into question the individual race of each hands and what that means. When I was in mid process painting the hands, a woman commented that one of the hands didn't have a wedding ring on it(because I hadn't gotten around to painting it in yet). And then an interesting thing happened with the race of the hands, in the sketch that was taped to the wall of the unfinished mural, it clearly depicted three very different complexions, so we had thought we had our bases covered. But the next morning when we went in to work on it, the property manager told my partner and I that someone had made the assumption that both hands of the parents were white and asked the question why that was the case, when clearly the sketch and most of what had been roughed out in the mural indicated the three different races. It was almost as though she projected her own assumptions that were were going to depict the whole thing through our lilly white perspectives, when clearly that was not our intention whatsoever. And so I said fuck it and just made the hands engulfed in the atmosphere so the only colors that became noticeable were the dominant purple and yellow from from the light source and the shadows. I hope all of that made sense. I wanted to show you guys the piece but I also need to put that situation out there to see what you think. Because its a very sensitive subject and i felt so bad that someone made the assumption that we were being inconsiderate or racist.
Re: my blog
you did a mural of a mural?
Re: my blog
no there was a sketch of it taped up on the mural depicting what it was going to look like.
- $nipe
- Taiyed Brodel
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Re: my blog
Do you remember palm trees and a coat of many colors?Element wrote:your paintings remind me of this crazy acid trip i had.