oil

Faces of Fiction \ The Ice Queen

Anybody who knows me knows I love to draw portraits. Most of the time those drawings/paintings are from life and sometimes the drawing from the memory of characters I encounter in life and some completely ficticious faces constructed by my mind and the moment in which I find myself. 

Well here we have one of my semi fictitious characters. The Ice Queen, conceived in my mind over two years back now, is a subject based on certain qualities of an individual that you could say I know very well, or at least I thought I knew very well, mixed with my ideas and visions of what a true Ice Queen really is. Obviously elements such as coldness, or 'lack of' warmth come to mind. Blues, icy blues, hard edges and strong contrasts alongside some implied character traits suggested in amongst the distorted facial features. I was liberal with the oils and richness of the blues whilst refining the lines with charcoal as I went, what you see below is the outcome of about 5 hours painting, enjoy the ice queens but be warned, don't get too close, frost can bite, hard.. 

Portrait \ Audy a.k.a. Cumi Laut

Arriving home from a spontaneous night in one of Budapest seedy club areas Audy agreed to sit, or in this case lie, for a portrait. I was really in the mood for painting and tired of drawing myself in the mirror plus Audy's technicolored hairdo gets me excited! Here are the results.

Oil on Canvas Board, 30x20cm.

work in progress: robodon \ may'17

Sometimes I think I'm a terrible person, I start a painting and sometimes the struggle to the finish is marred by unforeseen difficulties or (especially in oil painting) long breaks for drying and layering or just plain old thinking.

Here I have one of those paintings that fits both those moulds. I started this painting in May last year(2016), completed the under drawing work in the better part of an hour, worked on painting persistent small tones with a tiny palette knife on a large canvas, and then I hit a point. A point I hit with some pieces', a point where I don't know where to go next, and usually if I hit this point I have a system, I Set the work aside to rest. I take it out of my immediate working area and sit it where I can see it and leave it to my subconscious to figure out the direction and the fixes to be made for a finished piece.


I get the initial lines and composition done in roughly an hour whilst the model sat. I used charcoal and a damp brush to block in big areas. It's the first time, I believe, that I had to walk and draw a line at the same time, if you haven't tried it, I recommend. (Picture 1) if you notice I realised (too late) that I did not leave enough space at the side of the canvas for the stretching process, a silly over sight but lesson learnt.

By the last image in the above series I had built my own frame and stretched the canvas, its incredible how much of difference this makes! (Picture 4) This is how the painting stayed for a few months, before I blew of the dust and went at again with renewed vigour and alternate vision.

This is the painting as it stands. As you can see, I completely re thought the background which was influenced by a painting I did in the mean time.

Inspired by Impressionists \ Painting the Museum Garden.

After indulging myself in a 3part/hour documentary of the impressionist movement, I got a inner burning to take my easel outdoors again and paint like the pioneers of this colourful style. 

The documentary focussed mainly around Monet as he is considered the father of impressionism, but also includes the stories of Degar, Manet, Cezanne and a few other characters central to this artistic revolution.

I decided I wanted to use a limited palette today, and build the numerous colours from a stable base of primaries. The colours I had on my board were.....!!!!  I began the painting at 3 o'clock in the afternoon and could only paint until 5pm before the light had changed too much. So I went back the next day.

unfortunately I did not take a photo of day two progression.   

A week later after being away I managed to get back to the museum to continue.  

Its amazing how in just a week the scene had changed. the foliage on the trees had become less dense, he yellow/orange I was seeing burn through the Center tree had diminished significantly. Alas, I continued. 

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day 3 (total time painting 5/6 hours)