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PHASE 4...adding preliminary details


Right about here I start jonesing for details I may use later on. I darken certain areas and the facial features get alot of attention. I consider it a dry run for the emotional value I'm shooting for. At this stage I'm getting a sense of how I want to finish. It may sound odd, but this is when the painting TELLS ME where to go next.

Comments (11)


Gots a LOOOONG way to go.


I'm sure there are analogs in other arts (music, architecture, dance, etc.). In modern (computer-mediated) writing, I find it's a two-sided battle between the words and the author, with lots of give and take on both sides as the product evolves toward a finished state. I'm constantly listening, over and over, to what the present words are saying to me, and attempting to force my will on them, as we struggle toward some grounds middle.


I see your point clearly. The creative process is rarely a straight line to a finished product. Invariably, there's a tipping point where the project itself makes it clear how it should be finished. It's a combination of personal aesthetic and giving yourself a chance to try some new ideas without having to plan every detail.

Knowing where you want to take your idea is important, but it's the tiny little wavers of inspiration that make it special.


If it's not too premature to suggest a title, how about "Dreamcatcher"?

On art philosophy:

I don't think the struggle is so much between the artist (or craftsman) & his medium as it is between the artist & his limited faculty (or accepted paradigm) as he pushes for something new.


I like it as is, only thing I think can evoke greater pleasure in the image is to insinuate a background.

something subtle.

I see room for a floral reference on the right, not defined, just a sorta shadow reference.

But I don't know how well that would work.

Though maybe a progression of vacant on the left, amorphous in the center and then defined on the right might lend something to the image.

but I wouldn't suggest any of those things. I would leave it exactly as it is. Don't expand on the central figure at all.

Now there's an idea. Start with the background you laid down on the first post then take your reader's suggestions and add layers until complete.

However, would you be faced with have 9 blind people describing different parts of an elephant?


Like the title. Has a romantic vibe. I'm going to wait towards the end of the piece to decide on a title.

Nice point on your "artist's life" take. It's always been a complicated relationship between an artist and his medium. Sometimes its a love affair, sometimes it's a divorce court.


Appreciate your thoughts on the work. The painting is evolving, slowly pointing the way towards "a life", that is, a message that can sustain critique.

The addition of something organic (like flowers) is something I played with recently. It's in my next post.

HEY 360

A VERY interesting experiment! I'm not sure I'm the guy to do it, but the concept lends itself to some kind of socio-creative group think that sounds like a fabulous train wreck. Lots of drama, lots of bandages.


“One man alone can be pretty dumb sometimes, but for real bona fide stupidity, there ain’t nothin’ can beat teamwork.” – Edward Abbey


John, you are nice for tolerating a guy like me.


Monique, a Leaf fan, set up this plumb persistent to believe. Now, let me regarding out that this was in no way an try to articulate one cooperate is advantage than the other. It was even-handed a goal to articulate two things.


John Cox is a painter, cartoonist, and illustrator for hire. For information about purchasing existing work or commissioning new work, contact him by e-mail at john555cox [at] hotmail.com.

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