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  1. #61
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    Münch is tha man!
    Definitely he represents one of those artists that's body of work ... really.... deeply ... affected me early on and got me into the idea of pursuing the art. How did he get so much power into his images? I don't get how he did it. This madonna piece in particular... most potent sexuality i've ever seen in a piece of art.

    anyways, question: What do you mean by "colorist?" There's a standard definition of colorist from wikipedia that is specifically related to the guys who do the color work for comic books. obviously that's not your tea but i am wondering what the reference is to: moreover, i think your drawings and tonal skills are quite good, and that they are important to getting better art made: There was the portrait you were asking fingerless about last wednesday... great sense of depth in it, except that the tone / shadow was a slightly heavy handed in one small section. Your stuff is getting better and better; observing tone i'd contend is slightly more important than observing color though... and color is totally intertwined with the notion of tone.

    re: portrait: good job and believable as a face, but the likeness isn't there. the way you're drawing the eyes is a bit on the stylized side. Skull Studies: Once i get Hansel back from cory he'll be living permanently at the studio. doing a couple of studies of specifically the shape of the eye sockets as they relate to the nasal bones will clear up some of the issues that you're having. I'm gonna spend more time with Sun Ra's Geometric Death Mask... wow... I love drawing that thing! Since i've decided to beef up my anatomy knowlege this year... feet and lower legs are a huge obstacle that i'm gonna try to get better at. anyways... let's see some more self portraits, start gestural and draw what you see.

    damnit also: CRAPOLA: I realized earlier today (been working on this huge piece) that i'm not going to be here wednesday night as i have training in miami wednesday through friday. Huge freakin bummer...i was looking forward to sketching catherine again. I've decided that i'm gonna get a clamp light for my easel. even though i thought i was seeing my mixed colors right when i opened up my book in proper light i found out how wrong i was. Should i try to locate a replacement for my spot in order that i don't lose the money? Awkward i know, but hell it's a trip that i have to go on. If i lose the $ it's fine... should have thought of this before session last wednesday and mentioned it.

    did you see the strange ... grey light from the snowfall today? I didn't realize that it had snowed until i noticed that my room looked kind of different. ... not early morning light... not... afternoon light. not 8am light. dang... wow... snow-light. who'da thunk. there were people sledding at this golf course i drove by today.... really surreal looking, sliding hither and thither in their brightly colored coats and plastic sliding devices.

    chee,
    rs

    What do you do to celebrate finishing a big, monumental piece of art? i think... i'll... play... some xbox? yay!

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    Last edited by guggemmaneuver; January 20th, 2008 at 03:27 AM.
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  3. #62
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    Münch is tha man!
    Definitely he represents one of those artists that's body of work ... really.... deeply ... affected me early on and got me into the idea of pursuing the art. How did he get so much power into his images? I don't get how he did it. This madonna piece in particular... most potent sexuality i've ever seen in a piece of art.


    Oh my god...I have a 2-disc four-hour long DVD on Münch on loan from Netflix right now. This guy had one hell of a life...wow. The film is a bit on the depressing side, but I'm really seeing how his pictures developed. It's very interesting. The deaths in his family from Tuberculosis had a significant effect on him. Münch himself almost died twice. The critics were absolutely brutal on him as well. In both Norway and in Berlin.

    anyways, question: What do you mean by "colorist?" There's a standard definition of colorist from wikipedia that is specifically related to the guys who do the color work for comic books. obviously that's not your tea but i am wondering what the reference is to: moreover, i think your drawings and tonal skills are quite good, and that they are important to getting better art made: There was the portrait you were asking fingerless about last wednesday... great sense of depth in it, except that the tone / shadow was a slightly heavy handed in one small section. Your stuff is getting better and better; observing tone i'd contend is slightly more important than observing color though... and color is totally intertwined with the notion of tone.

    The Wikipedia definition should really by modified, because the comic book colorist is a totally different thing. In painting, a colorist has a very different approach than a tonal painter or draughtsman. A colorist recognizes that you don't see life in black and white, and will sacrifice accuracy in drawing in exchange for making a statement in color. Think Monet and Matisse....a draughtsman, like Degas, will not sacrifice accuracy in drawing for color. Not that drawing or tonality are not important, they're just not the primary concern. I am VERY SERIOUS about doing these block studies en plein air (weather permitting). I think my paintings will improve by leaps and bounds after doing the block studies...this is like doing skull studies to improve your knowledge of anatomy, except for color. Huge!!! Let me know if you want to give this a whirl.

    re: portrait: good job and believable as a face, but the likeness isn't there. the way you're drawing the eyes is a bit on the stylized side. Skull Studies: Once i get Hansel back from cory he'll be living permanently at the studio. doing a couple of studies of specifically the shape of the eye sockets as they relate to the nasal bones will clear up some of the issues that you're having. I'm gonna spend more time with Sun Ra's Geometric Death Mask... wow... I love drawing that thing! Since i've decided to beef up my anatomy knowlege this year... feet and lower legs are a huge obstacle that i'm gonna try to get better at. anyways... let's see some more self portraits, start gestural and draw what you see.

    Thanks for the feedback. I'll keep at it! Very awesome about Hansel. I need to do skull studies from life big time. And bring on those african masks! None of these anatomy books compare to drawing the actual bones.

    damnit also: CRAPOLA: I realized earlier today (been working on this huge piece) that i'm not going to be here wednesday night as i have training in miami wednesday through friday. Huge freakin bummer...i was looking forward to sketching catherine again. I've decided that i'm gonna get a clamp light for my easel. even though i thought i was seeing my mixed colors right when i opened up my book in proper light i found out how wrong i was. Should i try to locate a replacement for my spot in order that i don't lose the money? Awkward i know, but hell it's a trip that i have to go on. If i lose the $ it's fine... should have thought of this before session last wednesday and mentioned it.

    -----------------

    did you see the strange ... grey light from the snowfall today? I didn't realize that it had snowed until i noticed that my room looked kind of different. ... not early morning light... not... afternoon light. not 8am light. dang... wow... snow-light. who'da thunk. there were people sledding at this golf course i drove by today.... really surreal looking, sliding hither and thither in their brightly colored coats and plastic sliding devices.

    Yeah, I've been observing the lighting changes too...it's quite interesting. Very bright on those rooftops! Almost blinding!

    What do you do to celebrate finishing a big, monumental piece of art? i think... i'll... play... some xbox? yay!

    Cheers to that!

    Last edited by barbarino; January 21st, 2008 at 08:48 AM.
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  4. #63
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  5. #64
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    Portrait Painting @ Chastain - male model

    I did this oil painting this past Thursday...I like the way it came out for the most part. The ear and brow ridge area need some work. I don't quite have the anatomy down for either area. And his eye too. I wasn't going for color here, more for tonal painting and establishing a likeness.

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  6. #65
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    I'm psyched. I finally found a supplier for wood blocks! I just ordered 16 wood blocks that should get here by Thursday or Friday this week. I'm looking forward to doing these outdoor color studies. Hopefully the weather will warm up a bit. I'm not too keen on painting in 30 degree weather.

    http://www.oldfashionedblocks.com/or...ic_blocks.html

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  7. #66
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    The planes of the nose need some work, and more heightening in the glabella area and forehead which would help the eye sockets recede...other than that, maybe a little more contrast in the background. I definitely could've used another hour or two on this one. I thought I'd stick with the same color palette for this, to see how creative I'm able to get with just two colors plus white. It's a good exercise that helps you focus on all of the other non-color elements that are equally challenging.

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  8. #67
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    Tina at Chastain

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  9. #68
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    Catherine @ M.F.

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  10. #69
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    Kristin at M.F.

    Notes to self:
    - Bring hair/head out to the edge of the canvas
    - Watch the pupils; keep them equal in size
    - Need to work on nose and ear anatomy: paint noses and ears...lots of 'em!
    - Watch eye level; avoid placing in forehead area
    - Get your model's essence first and foremost
    - Forehead needs to come forward, eyes need to recess...work on this
    - Look for cheekbone placement and understand the effect this has on the plane changes

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    Last edited by barbarino; February 14th, 2008 at 12:29 AM.
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  11. #70
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    heh... I was there when you photographed these! sweet update!

    ¢2 the intial sketch on the portrait of kristin is looking pretty good, actually. try and get the shape of the eye sockets (in perspective)/ nose structure down first, then place the eyeballs inside the sockets after that part is done. this should help you get more natural looking eyes and avoid the stylization.

    great work and keep the momentum going!

    DRAW MORE, DANGIT! NO EXCUSES! (hehe)

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  12. #71
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    Thanks Gugg!!! That's a big help, really. Those eye sockets have been giving me some trouble. Thanks for forwarding the link to MindCandyMan's sketchbook - I'm very inspired by his discipline and seeing the progress that comes along with it.

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  13. #72
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    another attempt at a self-portrait

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  14. #73
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    Kristin @ MF - Initial Painting

    I realize that her skin looks like she has a sickly skin disease, but I'm posting this anyway in the name of progress....I have perfectionist tendencies, and to post something I'm not thrilled with can be a very good thing. I recently heard the story of an art teacher who would literally destroy his student's finished canvases until the student got a concept right. Practice makes perfect...no risk, no gain. So this isn't finished yet, but this is where I'm at for the time being. I have two more painting sessions with this model.

    Notes to self:
    - need to warm up the shadow tones
    - continue to work on eye sockets
    - increase the contrast between dark and light
    - determine my light source and the effect of light on the subject
    - warm up the skin tones in general; colors are a little too saturated
    - clarify the plane changes on the skull
    - forehead needs heightening
    - see how the light source is affecting the hair
    - look for the value changes in her hair - where dark? where light?
    - bring more clarity to the ear anatomy
    - sterno-mastoid and clavicle definition
    - reflected light: address
    - stylized = too linear; blend, blend, blend! (line btw/lips; upper eyelid) - suggest features
    - adjust color temperature, not necess. value
    - value = use relative comparisons to assess value differences
    - what recedes? what comes forward?

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    Color Palette:

    The model was wearing a lime green shawl, and I decided to base my color scheme on that. Magenta or red-violet, is the complementary of lime green. So for this painting, I'm sticking with a complimentary scheme. It's best to keep it simple starting out. No need to add multiple colors. Working with limitations will hopefully produce better results and allow me to focus more on the non-color variables - anatomy, the play of light, texture, contrast, etc.

    - Mixed Hansa Yellow (yellow-green) with Cerulean Blue (blue-green) to get varying shades of green -- a medium green, lime green (background) and light chartreuse (shawl).

    - Mixed Quinacridone (red-violet) in varying degrees with white, to get various shades of magenta / pink (skin).

    - Mixed the Quinacridone mixtures with the green mixtures to get a warm brown tone; which was mixed with the pink to lessen the saturation and add a little warmth (skin).

    - Mixed the Quinacridone with the mixed brown to lessen the saturation/add warmth (hair)

    Last edited by barbarino; February 22nd, 2008 at 10:18 PM.
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  15. #74
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    I just learned today that Winsor Newton's white oil paint tends to be poor quality - chalky. I bought it because it was affordable compared to the other brands...probably best to stick with Rembrandt, Gamblin or something similar.

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    Portait Under-Drawing: Allison - 2-23-08

    Things to work on:

    - Neck...get the neck muscles right
    - Eyeballs...they need a little work 'fo sure.

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  17. #76
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    your off to a good start. i'd suggest when doing portraits try to make sure the structure of the face is correct first before trying to finalize it. maybe study some loomis books (hes really good for learning heads and how to get the proportions right on them) your ref'd stuff definitely looks better than your non ref'd. well keep it up.

    To live is to create, to create is to live. Without art and music, I do not know how I would get by in my day to day life.

    http://conceptart.org/forums/showthread.php?t=115997
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  18. #77
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    Guggenmaneuver said some very wise things tonight. I should really listen...one of my New Year's Resolutions was to submit artwork to five art shows this year, and now all of a sudden I'm starting to wuss out. It's time to get crackin'.

    Make plans to submit a piece of art to FIVE SHOWS this year. Here's what you can put on the calendar for starters. Find out all the deadlines and create a master calendar. Organize your time so that you can have slides ready for each submission.

    AAC MONTHLY SHOWS:

    1. Dogwood Show - Deadline: April 3-5
    2. Abstractions of Life - Deadline: May 1-3
    3. Saturation - Deadline: June 5-7
    4. New Members Show - Deadline: July 10-12
    5. In the Limelight @ Binders - Deadline: July 31-August 2
    6. Spice of Life - Deadline: October 2-4
    7. Synchronicity - Deadline: Oct. 30-November 1
    8. Celebration - Deadline: December 4-6

    OTHER SHOWS/COMPETITIONS:

    1. AAC 2008 National View at Grandview - Deadline for slides is Saturday, June 14, 2008 -- ENTER!
    2. Basil's First Fridays Show -- SUBMIT YOUR SH*T!
    3. The Artist's Magazine - Self Portrait Competition - May 2008 deadline -- DO IT!

    Find art competitions, shows, galleries, etc. that are looking for the art I'm trying to create -- START RESEARCHING DAMN IT!

    - Figurative
    - Expressionist
    - Portraiture
    - Social Commentary**

    Last edited by barbarino; February 28th, 2008 at 11:41 PM.
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  19. #78
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    thesadpencil > Thanks for your suggestions. I definitely need to work on my anatomy studies some more. In fact I just received an art class catalog and am seriously considering enrolling in an artistic anatomy class. I've definitely studied this stuff, but not as deeply as I could. Any tips you have on how to study the anatomy (for maximum absorption) would be appreciated.

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  20. #79
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    when first working in anatomy try to break the figure up into large single shapes such as spheres/cubes/triangles/cylinders/blocks. try to simply define the planes of the figure w/ these. like the head as a sphere. the chest as a square. arms as cylinders. if you want more info that would be incredibly helpful i recommend picking up a copy of the anatomy book brigman's complete guide to drawing from life. it has a lot of stuff in there that will help you with proportions, structure, proper anatomy, how to build a form from the simple shapes i was referencing. also look into the loomis anatomy books i mentioned before.

    To live is to create, to create is to live. Without art and music, I do not know how I would get by in my day to day life.

    http://conceptart.org/forums/showthread.php?t=115997
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  21. #80
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    Awesome, thanks so much.

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    Tina @ Chastain

    I usually don't paint with acrylics, so this was an aberration from what I'm more used to (oils). I used a limited, mostly cool color palette, although in retrospect I wish I had some lighter colors to work with. My colors were quite saturated, and since this was more of an analagous palette, I didn't have any compliments I could mix to tone things down (neutrals). So towards the end of the session I picked up some charcoal and added some linear elements.

    The values are definitely not right...I'm treating this more as a color / mixed media study. I need to figure out what style suits me best....the colorist approach, value/tonal approach, linear or combination of the above. I definitely gravitate towards color and line.

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    Art Submission Calendar - 2008

    AAC MONTHLY SHOWS:

    1. Dogwood Show - Deadline: April 3-5
    2. Abstractions of Life - Deadline: May 1-3
    3. Saturation - Deadline: June 5-7
    4. New Members Show - Deadline: July 10-12
    5. In the Limelight @ Binders - Deadline: July 31-August 2
    6. Spice of Life - Deadline: October 2-4
    7. Synchronicity - Deadline: Oct. 30-November 1
    8. Celebration - Deadline: December 4-6

    OTHER SHOWS/COMPETITIONS:

    1. AAC 2008 National View at Grandview - Deadline for slides is Saturday, June 14, 2008 -- ENTER!
    2. Basil's First Fridays Show -- SUBMIT YOUR SH*T!
    3. The Artist's Magazine - Self Portrait Competition - May 1, 2008 deadline -- DO IT!

    ART SHOWS AND COMPETITIONS:

    Art Show.com - juried competitions
    American Artist magazine - competitions
    The Artist's Magazine - competitions
    Art Deadlines List
    The Art List
    Art Deadlines List Blog

    AIRPORT ART PROGRAMS:

    Hartsfield-Jackson Airport-Atlanta
    Philadelphia International Airport
    Albuquerque International Sunport
    Seattle Sea-Tac Airport
    San Francisco Airport Museums
    Phoenix Sky Harbor Airport

    New York Times article on airport art programs

    Last edited by barbarino; February 29th, 2008 at 12:18 AM.
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  24. #83
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    i like what i'm seeing in this last post.

    you CAN do it! you WILL do it!

    Go G Go!

    g

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    Thanks Gugg!!! It's time to boogie my friend. I'm going to start preparing for the AAC's Dogwood Show - one month to complete a piece or 2-3 and push this stuff out into the world. And no sloppy sh*t either...I'm kickin' this thang into high gear.

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    "Don't think about making art - just get it done. Let everyone else decide whether it's good or bad - whether they love it or hate it. While they're deciding, make even more art." (Andy Warhol)
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  26. #85
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    I really am starting to not like that last piece of crap I did....I think I'm going to paint over it.

    I need to start thinking less in terms of "sheets of color" and more "subtle tonal variations". When observing the model, rather than just trying to cover the canvas, taking a step back to observe what is really happening to create form. And more specifically, where are the warm tones? where are the cool tones?

    I'm beginning to notice that what I perceive as darks aren't necessarily as dark as I may think. The eyebrows for example - they're not pitch black.

    If I'm going to go super-dark, the place for that is:

    1) eyeballs
    2) upper eyelashes
    3) certain parts of the hair where light isn't reaching
    4) hair just above the ear
    5) certain parts of the ear

    Highlights:
    1. Nose
    2. Forehead
    3. Lower chin
    4. Upper cheeks
    5. Certain parts of the ear
    6. One side of the sterno-mastoid (each side)
    7. Parts of the upper eyelid

    Mid-tones--Dark:
    1. Pit of the neck
    2. Underneath the lips
    3. Neck just below the skull
    4. Parts of the upper eyelid
    5. Lips
    6. Cornea
    7. Recess just below the zygomatics
    8. Eyebrows

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    Concept Art Atlanta Thread

    "Don't think about making art - just get it done. Let everyone else decide whether it's good or bad - whether they love it or hate it. While they're deciding, make even more art." (Andy Warhol)
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  27. #86
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    Flower study @ Stella

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    Concept Art Atlanta Thread

    "Don't think about making art - just get it done. Let everyone else decide whether it's good or bad - whether they love it or hate it. While they're deciding, make even more art." (Andy Warhol)
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  28. #87
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    Moleskine - March 9th

    Studies from my Portraits & Nudes book...preparing for my "Cravings and Aversions" painting series.

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    Last edited by barbarino; March 12th, 2008 at 11:41 PM.
    Atlanta Painters Meetup Group
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    Concept Art Atlanta Thread

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  29. #88
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    Laila @ M.F. (charcoal)

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  30. #89
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    Laila at M.F. (initial painting)

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    "Don't think about making art - just get it done. Let everyone else decide whether it's good or bad - whether they love it or hate it. While they're deciding, make even more art." (Andy Warhol)
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  31. #90
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    Denise @ Chastain

    The paint was still wet when I took this photo, so it picked up some room lighting towards the bottom...

    Palette:
    Alizarin Crimson
    Napthol Red
    Titanium White
    Ivory Black

    (oil on masonite)

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