I was amazed how fast this one went. This time the selection of the image took the most consideration. After selecting my board, I set it up on the wall and examined its surface (by this time, I’m no longer sanding the boards, as I don’t want to lose any of the texture). Plus, little surprises make there way onto the surface (note 2 tiny bugs, and knot-hole):
I chose an image that I took a couple of years ago in Balboa Park (San Diego, CA). [more on photo selection later] Speaking of SD, if you’re anywhere out there, you need to check out a friend of mine’s (Owen Mundy) latest project,
Camp La Jolla Military Park. I’ve also included his portfolio site in my “Process Related Art” links, so check it out– it’s pretty amazing.
Anyway, after dealing with the tedious nature of the gel pens from sketch 2, I wanted to let go a bit, and create something with a little more fluidity. Basically, I wanted to see how the black gesso I had bought would react to the surface.
I wasn’t sure how detailed I could be, so I went out to my garage and dug around for a brush fine enough for thin lines, as well as one that could fill larger areas.
I didn’t know if the gesso would drip very much, or how easily I could control it, so I chose this highly silhouetted image for experimental purposes. As I began, I discovered that the gesso stays put, doesn’t drip, and dries very quickly. YES.
I also chose not to fully black out certain areas and let the wood surface come through, as you can see below on the horse, for example. I think the biggest surprise of the piece was that great cloud behind the mounted figure. I love the way the white space in the middle comes out and sets off the statue. For the blue sky, I found that a gentle “wash” over the textured wood/gesso surface gave the piece an added organic touch, and a middle grey that I needed too. Enjoy:
Stay tuned, and thanks for reading.
